top_docs.350

Qid: 350	Rank: 1	Score: 30.659147
<DOC>
<DOCNO> LA072690-0114 </DOCNO>
<DOCID> 252653 </DOCID>
<DATE>
<P>
July 26, 1990, Thursday, Home Edition 
</P>
</DATE>
<SECTION>
<P>
Metro; Part B; Page 3; Column 4; Metro Desk 
</P>
</SECTION>
<LENGTH>
<P>
638 words 
</P>
</LENGTH>
<HEADLINE>
<P>
$550,000 STRAD VIOLIN STOLEN AT L.A. AIRPORT 
</P>
</HEADLINE>
<BYLINE>
<P>
By PENELOPE McMILLAN, TIMES STAFF WRITER 
</P>
</BYLINE>
<TEXT>
<P>
What was to be a vacation quickly turned into "a nightmare" for Erich 
Gruenberg, when his rare Stradivarius violin, valued at $550,000, was stolen 
shortly after he arrived at Los Angeles International Airport. 
</P>
<P>
"It is irreplaceable," the 65-year-old English concert violinist said 
Wednesday. "It is my life." 
</P>
<P>
Los Angeles police said the Stradivarius, along with a second Hirsch violin 
valued at $8,000, were stolen Tuesday afternoon, shortly after Gruenberg and 
his wife, Korshed, arrived from England on a British Airways flight. 
</P>
<P>
"They were taken off a cart after he cleared customs," said Detective William 
Martin, the LAPD's specialist in art theft. 
</P>
<P>
The detective said he believes that the thieves probably did not know the 
simple, tan-colored oblong case contained violins. 
</P>
<P>
"Unless they had X-ray vision, they couldn't know what was inside," Martin 
said. 
</P>
<P>
Police statistics show there have been an average 181 thefts a month at the 
airport so far this year, or about six a day. 
</P>
<P>
On Wednesday, Gruenberg, apparently yet another victim, kept reliving and 
retelling those few seconds when the theft occurred, as though he could not 
believe it happened. 
</P>
<P>
The tall, pale Londoner, who has been concertmaster of the London Symphony 
Orchestra and the Royal Philharmonic and is now an international concert 
soloist, is staying at the Pacific Palisades home of Harold Hirsch, an old 
friend and the maker of the second stolen violin. 
</P>
<P>
Seated on a sofa, Gruenberg told a reporter that he was loading his luggage 
into Hirsch's Cadillac. 
</P>
<P>
"I put two suitcases in the trunk." Gruenberg said, and, as was his custom, 
went to take the violins inside the car with him. 
</P>
<P>
"The violin never goes in the trunk," Korshed Gruenberg said as she sat nearby, 
visibly upset and near tears. 
</P>
<P>
Gruenberg continued: "I turned around, I said to my wife, 'Darling, where's the 
violin?' I looked right and left, back and forth. 
</P>
<P>
"Then I thought, this is a bad dream." 
</P>
<P>
Instruments created by Antonio Stradivari, the 17th- and 18th-Century violin 
maker, are considered unsurpassed in sound quality. Only about 650 still exist 
and they are often used by the world's leading players. 
</P>
<P>
"I think the people who took it were not aware of what they took," Gruenberg 
said. "I hope they just left it somewhere and somebody will find it, and return 
it to me." 
</P>
<P>
Anyone with knowledge of the instruments' whereabouts should call the Los 
Angeles Police Department. The Austrian-born violinist added that he "would 
consider some kind of reward" for their return. The instruments are insured, he 
said. 
</P>
<P>
Gruenberg said he acquired the Stradivarius from a violin dealer in London in 
1974. 
</P>
<P>
For a serious musician, he said, throughout life "you try to find an instrument 
you bond with. You become like a team." 
</P>
<P>
"He just played a few strings of that and I said, 'Eric you don't give it 
back,' " Korshed Gruenberg said, recalling the day the couple first saw the 
Stradivarius. "I love it so much. It's like mine, too. I feel like someone has 
kidnaped my daughter." 
</P>
<P>
During their planned three-week vacation, Gruenberg said, he had agreed to do a 
private recording of a concerto composed by a UCLA professor later this week. 
Even though he may not have his precious instrument, or his second violin, 
Gruenberg said he will still meet the engagement. 
</P>
<P>
"Of course, you can play any violin," he said. "I'll borrow another violin from 
Mr. Hirsch." 
</P>
<P>
But it will make a difference, Gruenberg said. 
</P>
<P>
"The difference would be difficult to explain. It's like defining quality," the 
violinist said, quietly. "What you pay for in a violin is an indefinable depth 
and color in sound. If you compare it to a mountain lake, the light shines on 
it like iridescence, and there is depth; endless depths. 
</P>
<P>
"With other instruments in five minutes, they can't give me anything new." 
</P>
</TEXT>
<GRAPHIC>
<P>
Photo, Violinist Erich Gruenberg displays case holding instruments similar to 
ones stolen at airport. LARRY DAVIS / Los Angeles Times 
</P>
</GRAPHIC>
<SUBJECT>
<P>
MUSICAL INSTRUMENTS; ROBBERIES -- LOS ANGELES; LOS ANGELES INTERNATIONAL 
AIRPORT; MUSICIANS 
</P>
</SUBJECT>
</DOC>

Qid: 350	Rank: 2	Score: 30.596523
<DOC>
<DOCNO> LA072590-0146 </DOCNO>
<DOCID> 252303 </DOCID>
<DATE>
<P>
July 25, 1990, Wednesday, P.M. Final 
</P>
</DATE>
<SECTION>
<P>
Part P; Page 1; Column 1; Late Final Desk 
</P>
</SECTION>
<LENGTH>
<P>
217 words 
</P>
</LENGTH>
<HEADLINE>
<P>
LOCAL; 
</P>
<P>
$550,000 STRADIVARIUS VIOLIN STOLEN AT AIRPORT, POLICE SAY 
</P>
</HEADLINE>
<BYLINE>
<P>
From Times Staff and Wire Service Reports 
</P>
</BYLINE>
<TEXT>
<P>
A Stradivarius violin valued at $550,000 was reported stolen from a baggage 
cart at Los Angeles International Airport, but police said the thief probably 
did not know what he was taking. 
</P>
<P>
The rare instrument, along with a second Hirsch violin valued at $8,000, was 
taken from concert violinist Erich Gruenberg after he arrived from England via 
British Airways Tuesday afternoon, police said today. 
</P>
<P>
"They were taken off a cart after he cleared customs," said Detective William 
Martin, the LAPD's specialist in art theft, who was assigned the case. 
Gruenberg apparently left the cart briefly after rolling it outside the 
terminal. 
</P>
<P>
"I'm just devastated," Gruenberg, a 65-year-old Austrian-born violinist who 
lives in London, said Wednesday of the loss of the Stradivarius. "It is 
irreplaceable." 
</P>
<P>
The case containing the instruments was rectangular, not shaped like a violin. 
Martin said the thief or thieves probably believed that they were stealing 
luggage. "Unless they had X-ray vision they couldn't know what was inside," he 
added. 
</P>
<P>
Police statistics show that there have been an average 181 thefts a month at 
the airport so far this year. 
</P>
<P>
Gruenberg, who had journeyed to Los Angeles with his wife, had served as 
concertmaster of the London Symphony Orchestra and the Royal Philharmonic. 
</P>
</TEXT>
<TYPE>
<P>
Brief 
</P>
</TYPE>
</DOC>

Qid: 350	Rank: 3	Score: 29.622894
<DOC>
<DOCNO> AP900725-0050 </DOCNO>
<FILEID>AP-NR-07-25-90 0828EDT</FILEID>
<FIRST>r a PM-StolenStradivarius     07-25 0266</FIRST>
<SECOND>PM-Stolen Stradivarius,0275</SECOND>
<HEAD>Stradivarius Stolen from Violinist at Airport</HEAD>
<BYLINE>By JENNIFER BOWLES</BYLINE>
<BYLINE>Associated Press Writer</BYLINE>
<DATELINE>LOS ANGELES (AP) </DATELINE>
<TEXT>
   A musician's Stradivarius violin, worth about
half a million dollars, was snatched from an airport baggage cart,
police said.
   Erich Gruenberg, 65, was carrying the violin, crafted in 1731,
as he checked through customs after arriving from London at Los
Angeles International Airport on Tuesday afternoon, said city
police Sgt. Dave Nichols.
   The musician reported the violin disappeared from the baggage
cart as he was leaving the airport, Nichols said.
   The instrument was insured for about $500,000. Also stolen were
a violin worth $8,000 and two bows worth $3,500.
   There were no arrests by early today, Nichols said.
   Thefts at the airport are a common occurrence, but the thief may
not have realized what it was he was plucking from the cart,
Nichols said.
   ``If he reads the paper he will, so I guess it won't take him
too long to figure it out,'' he said.
   Scholars estimate that Antonio Stradivari made nearly 1,120 of
the prized violins bearing his name before his death in 1737. Less
than a few hundred are believed to exist.
   Gruenberg's whereabouts were not known. Nichols said he believed
that Gruenberg came to Los Angeles on vacation and was staying with
friends.
   The Austrian-born performer and music teacher makes his home in
England and has played with the London Symphony Orchestra. He now
appears as a soloist with leading orchestras in Britain and abroad.
He was made an honorary member of the Royal Academy of Music in
London on July 4.
</TEXT>
</DOC>

Qid: 350	Rank: 4	Score: 29.371721
<DOC>
<DOCNO> AP880331-0089 </DOCNO>
<FILEID>AP-NR-03-31-88 0848EST</FILEID>
<FIRST>u i PM-ViolinSale     03-31 0279</FIRST>
<SECOND>PM-Violin Sale,0288</SECOND>
<HEAD>Stradivarius Sold For Record $889,240</HEAD>
<BYLINE>By BEN DOBBIN</BYLINE>
<BYLINE>Associated Press Writer</BYLINE>
<DATELINE>LONDON (AP) </DATELINE>
<TEXT>
   A Stradivarius violin fetched a world record
auction price for a musical instrument of $889,240 at a Sotheby's
sale today, the auctioneers said.
   The violin, made in 1709 by Italian craftsman Antonio
Stradivari, is named after the master English violinist Marie Hall.
Composer Vaughan Williams composed ``The Lark Ascending'' for Hall,
which she first performed in 1920.
   An unidentified private South American buyer beat out two other
dealers bidding by telephone in a tense, two-minute auction.
   ``It was quite drawn out and tense and there was a round of
applause at the end,'' said Sotheby's spokeswoman Beth McHattie.
   The Marie Hall had been expected to sell for around $846,000,
and bidding started at $376,000, Sotheby's said.
   The previous highest auction price for a Stradivarius was
$728,000 for The Colossus, dated 1716, which was sold at Christie's
auction house in London last April.
   The Guinness Book of Records says the highest known price for a
Stradivarius was $1.2 million. But that was in a private sale of
Stradivarius' Alard violin by W. E. Hill and Sons to a Singaporean
on an unknown date.
   About 700 of 1,116 violins by Stradivarius have survived.
   Marie Hall, considered one of the finest violinists of her era,
died at age 72 in 1956.
   She acquired the violin in 1905 and it was passed on to her
daughter when she died. When it was last auctioned by Sotheby's in
November 1968, the violin sold for a then world record price of
$52,600.
   The violin was included in a day-long sale of violins, violas
and other stringed instruments.
</TEXT>
</DOC>

Qid: 350	Rank: 5	Score: 28.630318
<DOC>
<DOCNO> AP880331-0145 </DOCNO>
<FILEID>AP-NR-03-31-88 1325EST</FILEID>
<FIRST>r i AM-Violin     03-31 0314</FIRST>
<SECOND>AM-Violin,0325</SECOND>
<HEAD>Stradivarius Breaks Auction Record for Musical Instrument</HEAD>
<BYLINE>By BEN DOBBIN</BYLINE>
<BYLINE>Associated Press Writer</BYLINE>
<DATELINE>LONDON (AP) </DATELINE>
<TEXT>
   A 1709 Stradivarius violin named in honor of
English concert musician Marie Hall was sold Thursday for $889,240,
the highest auction price ever paid for a musical instrument.
   The violin, acquired by Miss Hall in 1905, was bought by an
unidentified South American dealer, Sotheby's reported. The dealer
beat out two other foreign rivals bidding by telephone in a tense,
two-minute auction.
   The previous highest auction price for a violin by Italian
craftsman Antonio Stradivari was $728,000. ``The Colossus,'' dated
1716, was bought last year by Italian violinist Luigi Alberto
Bianchi.
   The Guinness Book of Records says the highest known price for a
Stradivarius is $1.2 million, but that was in a private sale of
Stradivari's ``Alard'' violin by British dealers W.E. Hill and Sons
to a Singapore dealer.
   Bidding started Thursday at $470,000, said Sotheby's spokeswoman
Beth McHattie said.
   Marie Hall, considered one of the finest violinists of her era,
died at age 72 in 1956. British composer Vaughan Williams dedicated
his ``The Lark Ascending'' to her, and she first performed it on
her Stradivarius in 1920.
   Miss Hall bequeathed the violin, previously known as the
``Viotti'' after Giovanni Battista Viotti, to her daughter.
   The owner who sold it on Thursday was not identified.
   The instrument was last auctioned in 1968, when it sold for
$52,600 _ a record at the time.
   Thursday's auction ``was quite drawn out and tense and there was
a round of applause at the end,'' said Ms. McHattie. ``We're
absolutely delighted to be the record holders again.''
   The violin, kept in very good condition, had been expected to
fetch up to $846,000, she said. It has a distinctive tiger-stripe
wood grain pattern and is varnished in a rich orange-brown color.
   About 700 of 1,116 violins by Stradivari have survived.
</TEXT>
</DOC>

Qid: 350	Rank: 6	Score: 27.497473
<DOC>
<DOCNO> LA072690-0238 </DOCNO>
<DOCID> 252972 </DOCID>
<DATE>
<P>
July 26, 1990, Thursday, P.M. Final 
</P>
</DATE>
<SECTION>
<P>
Calendar; Part P; Page 8; Column 1; Late Final Desk 
</P>
</SECTION>
<LENGTH>
<P>
136 words 
</P>
</LENGTH>
<HEADLINE>
<P>
SHORT TAKES; 
</P>
<P>
$500,000 VIOLIN STILL MISSING 
</P>
</HEADLINE>
<BYLINE>
<P>
From Times wire services 
</P>
</BYLINE>
<TEXT>
<P>
A $500,000 Stradivarius violin owned by violinist Erich Gruenberg remains 
missing today after disappearing from an airport baggage cart at Los Angeles 
International Airport. 
</P>
<P>
"The violin is still outstanding and we have no suspects at this time," 
detective Jerry Sparks said. 
</P>
<P>
Gruenberg, 65, was carrying the violin, crafted in 1731, as he checked through 
customs at Los Angeles International Airport on Tuesday, Sparks said. 
</P>
<P>
But Gruenberg noticed that the violin was missing from the baggage cart 
"somewhere along the way" to ground transportation, the detective said. 
</P>
<P>
Thefts at the airport are common, but in this case the thief may not have 
realized the cart was carrying a Stradivarius. 
</P>
<P>
The instrument was insured for about $500,000. Also stolen was a violin worth 
$8,000 and two bows worth $3,500. 
</P>
</TEXT>
<TYPE>
<P>
Brief; Wire 
</P>
</TYPE>
</DOC>

Qid: 350	Rank: 7	Score: 23.351423
<DOC>
<DOCNO> AP901121-0118 </DOCNO>
<FILEID>AP-NY-11-21-90 1535EST</FILEID>
<FIRST>r i AM-StradivariusRecord     11-21 0212</FIRST>
<SECOND>AM-Stradivarius Record,0230</SECOND>
<HEAD>$1.76 Million for Violin Sets Auction Record</HEAD>
<DATELINE>LONDON (AP) </DATELINE>
<TEXT>
   A 270-year-old Stradivarius violin named after the
descendants of composer Felix Mendelssohn sold Wednesday for $1.76
million, the highest price paid at auction for a musical
instrument, Christie's said.
   The violin, known as The Mendelssohn, was purchased by a private
buyer in the salesroom who asked not to be identified.
   ``It was owned by an American collector for the past 35 years
and he probably played it a bit,'' said William Hanham, the
auctioneers' spokesman.
   ``The fact that it had been off the market for a long time was a
considerable help to the price,'' he added. ``We believe that more
expensive instruments have been sold privately.''
   The previous owner, who remained anonymous, sold the violin to
aid the United Jewish Appeal-Federation of Jewish Philanthropies of
New York.
   Antonio Stradivari made the violin in Cremona, Italy, in 1720
toward the end of his ``golden period'' when he produced his finest
instruments. The greatest ones are usually given personal names.
   The violin was named after its owners in the 19th century, the
Mendelssohn family of Berlin.
   The previous musical instrument auction record was $1.22 million
for a Stradivarius cello in 1988.
   The same year, a Baron Heath violin made in 1743 by Giuseppe
Guarnieri fetched $1.12 million at auction.
</TEXT>
</DOC>

Qid: 350	Rank: 8	Score: 20.935850
<DOC>
<DOCNO> AP900709-0067 </DOCNO>
<FILEID>AP-NR-07-09-90 1325EDT</FILEID>
<FIRST>r i AM-BRF--ViolinRansom     07-09 0186</FIRST>
<SECOND>AM-BRF--Violin Ransom,0191</SECOND>
<HEAD>Crime Gang Seeks Ransom for Stradivarius</HEAD>
<DATELINE>ROME (AP) </DATELINE>
<TEXT>
   Criminals holding a 273-year-old Stradivarius violin
stolen three years ago are seeking $2.5 million in ransom, an
Italian newspaper reported Monday.
   The instrument, once owned by the last czar of Russia, Nicholas
II, is believed held by an organized crime gang in Turin, according
to the Milan newspaper Corriere della Sera.
   The instrument was stolen from French musician Pierre Annoyal in
April 1987 when he was in Turin to teach a course at the European
Academy of Music, the newspaper said.
   It was reportedly in the trunk of his car, which was stolen when
he went into a shop to buy a pack of cigarettes.
   Police in Turin declined to discuss the case. The newspaper said
a photo of the violin was recently delivered to the police by an
individual known to have contacts with organized crime groups.
   Corriere della Sera said the ransom demand was made to the
owner. It did not say how it got the information.
   It did not give a value for the violin but decribed it as
``priceless.''
</TEXT>
</DOC>

Qid: 350	Rank: 9	Score: 19.516729
<DOC>
<DOCNO> SJMN91-06100044 </DOCNO>
<ACCESS> 06100044 </ACCESS>
<DESCRIPT>  CRIME; ROBBERY; MUSIC; EQUIPMENT; HISTORY; PAST; USSR  </DESCRIPT>
<LEADPARA>  A Stradivarius violin that once belonged to Czar Nicholas II has been
recovered in the same town where it was stolen from a car in 1987, police said
Monday.;    The 274-year-old violin, which belongs to French musician Pierre
Amoyal, is valued at more than $2.6 million.  </LEADPARA>
<SECTION>  Front  </SECTION>
<HEADLINE>  STOLEN STRADIVARIUS RECOVERED  </HEADLINE>
<TEXT>     Carabinieri police said they arrested two men and two women, all Italians,
for investigation of receiving stolen property. They made the arrests Saturday
in Saluzzo after finding the violin in a car they had stopped near the train
station.;    Amoyal was expected to arrive in Italy today to retrieve the
violin.  </TEXT>
<BYLINE>  Associated Press  </BYLINE>
<COUNTRY>  USA  </COUNTRY>
<CITY>  Turin, Italy  </CITY>
<EDITION>  Morning Final  </EDITION>
<CODE>  SJ  </CODE>
<NAME>  San Jose Mercury News  </NAME>
<PUBDATE>   910409  </PUBDATE> 
<DAY>  Tuesday  </DAY>
<MONTH>  April  </MONTH>
<PG.COL>  2A  </PG.COL>
<PUBYEAR>  1991  </PUBYEAR>
<REGION>  WEST  </REGION>
<STATE>  CA  </STATE>
<WORD.CT>  99  </WORD.CT>
<DATELINE>  Tuesday April 9, 1991
00100044,SJ1  </DATELINE>
<COPYRGHT>  Copyright 1991, San Jose Mercury News  </COPYRGHT>
<LIMLEN>  1  </LIMLEN>
<LANGUAGE>  ENG  </LANGUAGE>
</DOC>

Qid: 350	Rank: 10	Score: 19.358856
<DOC>
<DOCNO> AP900430-0073 </DOCNO>
<FILEID>AP-NR-04-30-90 1341EDT</FILEID>
<FIRST>r a AM-People     04-30 0734</FIRST>
<SECOND>AM-People,0766</SECOND>
<HEAD>People in the News</HEAD>
<HEAD>LaserPhoto NY44</HEAD>
<DATELINE>SANTA MONICA, Calif. (AP) </DATELINE>
<TEXT>
   Actress Elizabeth Taylor,
hospitalized three weeks with pneumonia, had a good weekend and has
started poring over the thousands of cards and letters from
well-wishers, her publicist said Monday.
   ``She's doing fine,'' spokeswoman Chen Sam said.
   Miss Taylor, 58, who was reported near death the previous
weekend, was moved Thursday to a private room after an 10-day stay
in intensive care at St. Johns Hospital and Health Center.
   Doctors gave no indication when Miss Taylor could leave the
hospital and continue recuperating at her Beverly Hills home, Ms.
Sam said.
   The Oscar-winning star has started to read messages from
well-wishers.
   ``She's beginning to look at some of them, but the doctors are
concerned that she get a lot of rest,'' Ms. Sam said. ``There is an
unbelievable amount of interest. They (cards and letters) are
coming in the masses.''
   Last week, the hospital released a statement on Miss Taylor's
behalf thanking fans and friends for their cards and letters during
her hospitalization.
</TEXT>
<DATELINE>RADNOR, Pa. (AP) </DATELINE>
<TEXT>
   Oprah Winfrey isn't ready for marriage _ and
she should know.
   ``I've done so many shows about marriage and divorce and
relationships that have failed,'' the host of her own syndicated
talk show said in this week's TV Guide. ``I know it would be
foolish to think you can have it all in one time.
   ``I think you can have it all. You just can't have it all at
once.''
   Not that Winfrey is unhappy with her beau, Stedman Graham.
   ``I can't imagine or think of _ nor have I seen or experienced _
anybody who would be more ideal for me,'' she said.
   But marriage, she said, is ``a whole different responsibility
that I can't handle right now. Now, I feel like he has his life, I
have my life. It's fine just like it is.''
</TEXT>
<DATELINE>LONDON (AP) </DATELINE>
<TEXT>
   Princess Diana's brother-in-law, Sir Robert
Fellowes, is to become Queen Elizabeth II's Private Secretary and
Keeper of Her Majesty's Archives, Buckingham Palace announced
Monday.
   Fellowes, 49, who married Lady Jane Spencer, the elder of
Diana's two sisters, will succeed Sir William Heseltine as the
queen's most senior adviser when Heseltine retires in October.
   Heseltine, an Australian, had long said he wanted to retire
after his 60th birthday in July. Fellowes has been the queen's
deputy private secretary since 1986.
</TEXT>
<DATELINE>RADNOR, Pa. (AP) </DATELINE>
<TEXT>
   Eileen Fulton, who plays that nasty,
oft-married character Lisa Mitchell on the CBS soap opera ``As the
World Turns,'' had a special clause put in her contract in the
1970s.
   Fulton, a 30-year veteran of the show, inserted a ``granny
clause'' that kept her television son, Tom, from having children.
   ``Soap opera grandmothers had periwinkle-blue hair, wore support
hose and listened to everybody else's problems. I was not about to
find myself in that category,'' Fulton said in this week's TV Guide.
   Fulton, 56, enjoys her star status and popularity.
   ``I've always maintained a standard of glamour because I'm sick
of actors who gripe about how hard they work and disappoint the
very people who love them,'' she told the magazine.
</TEXT>
<DATELINE>SAN FRANCISCO (AP) </DATELINE>
<TEXT>
   Soviet ballerina Natalia Makarova and her
husband have their 18th-century violins back, including the
Stradivarius that was snatched in a daring burglary at their house.
   Police on Sunday evening arrested Robert Fisher, 27, of San
Francisco. He was scheduled for arraignment.
   The recovered Stradivarius was worth more than $1 million. The
other violin, a Guarnerius, was valued at about $1 million, police
spokesman David Ambrose said.
   The violins, jewelry and a pair of Chinese enameled statuettes
were among items stolen Saturday from the home of Makarova and her
husband, Edward Karkar. Makarova, 49, recently retired from the
American Ballet Theatre.
   The couple's 1986 Mercedes-Benz also was stolen. Police said
Fisher was arrested as he walked away from the car after parking it
about a mile from the house. Most of the stolen items were in the
car, Ambrose said.
   ``Obviously, he didn't realize what he had taken. For that we
can be thankful,'' said Karkar. The violins are his, and he said he
practices on them regularly.
   Stradivarius violins, made by the Italian craftsman Antonio
Stradivari and his sons, are generally considered the finest in the
world. Guarnerius violins, made during the same period by the
Guarneri family, are also highly prized.
</TEXT>
</DOC>

Qid: 350	Rank: 11	Score: 19.247471
<DOC>
<DOCNO> AP881124-0022 </DOCNO>
<FILEID>AP-NR-11-24-88 0126EST</FILEID>
<FIRST>r i PM-BRF--Britain-Violin     11-24 0153</FIRST>
<SECOND>PM-BRF--Britain-Violin,0156</SECOND>
<HEAD>Violin Bought for World Record Price</HEAD>
<DATELINE>LONDON (AP) </DATELINE>
<TEXT>
   An 18th-century Italian violin made by Joseph
Guarneri del Gesu was sold in London for more than $1 million, an
auction record for any violin, the auctioneers Sotheby's said.
   An unidentified buyer purchased the instrument for $1,059,344
Wednesday from the estate of the late president of the Swallow
Airplane Co., Sam Bloomfield of Wichita, Kan.
   The violin is known as the Baron Heath, after an Italian
consul-general in London, Baron John Benjamin Heath, who owned it
just over a century ago.
   It was made in 1743 by Guarneri, who worked in Cremona and is
considered by some violinists to be at least the equal of his more
famous fellow countryman, Antonio Stradivari, who died in 1737.
   The previous violin auction record was 473,000 pounds (then
$889,000) for a 1709 Stradivarius known as the Marie Hall, sold in
London on March 31.
</TEXT>
</DOC>

Qid: 350	Rank: 12	Score: 18.853418
<DOC>
<DOCNO> LA043090-0123 </DOCNO>
<DOCID> 212043 </DOCID>
<DATE>
<P>
April 30, 1990, Monday, P.M. Final 
</P>
</DATE>
<SECTION>
<P>
Calendar; Part P; Page 8; Column 1; Late Final Desk 
</P>
</SECTION>
<LENGTH>
<P>
168 words 
</P>
</LENGTH>
<HEADLINE>
<P>
SHORT TAKES; 
</P>
<P>
$2-MILLION VIOLINS RECOVERED 
</P>
</HEADLINE>
<BYLINE>
<P>
From Times Wire Services 
</P>
</BYLINE>
<DATELINE>
<P>
SAN FRANCISCO 
</P>
</DATELINE>
<TEXT>
<P>
Soviet ballerina Natalia Makarova and her husband have their 18th-Century 
violins back, including the Stradivarius that was snatched in a daring burglary 
at their house. 
</P>
<P>
Police on Sunday evening arrested Robert Fisher, 27, of San Francisco. 
</P>
<P>
The recovered Stradivarius was worth more than $1 million. The other violin, a 
Guarnerius, was valued at about $1 million, police spokesman David Ambrose 
said. 
</P>
<P>
The violins, jewelry and a pair of Chinese enameled statuettes were among items 
stolen Saturday from the home of Makarova and her husband, Edward Karkar. 
Makarova, 49, recently retired from the American Ballet Theatre. 
</P>
<P>
The couple's 1986 Mercedes-Benz was also stolen. Police said Fisher was 
arrested as he walked away from the car after parking it about a mile from the 
house. Most of the stolen items were in the car, Ambrose said. 
</P>
<P>
"Obviously, he didn't realize what he had taken. For that we can be thankful," 
said Karkar. The violins are his, and he said he practices on them regularly. 
</P>
</TEXT>
<TYPE>
<P>
Brief; Wire 
</P>
</TYPE>
</DOC>

Qid: 350	Rank: 13	Score: 18.622299
<DOC>
<DOCNO> AP881109-0143 </DOCNO>
<FILEID>AP-NR-11-09-88 1110EST</FILEID>
<FIRST>r a PM-RareViolin     11-09 0234</FIRST>
<SECOND>PM-Rare Violin,0240</SECOND>
<HEAD>Police Find Valuable Steiner in Raid</HEAD>
<DATELINE>HOLLY HILL, Fla. (AP) </DATELINE>
<TEXT>
   The violin was made in 1676 by Austrian
Jakob Steiner. It may be as valuable as a Stradivarius. And it was
left behind by burglars in a run-down apartment raided by police.
   Police believe the violin was stolen from the home of a family
that has owned it for five generations and values it at $800,000.
   Detective Tom Ryan said Tuesday he found the violin as he
searched an apartment in neighboring Daytona Beach for jewelry, guns
and other items taken in a string of house burglaries in the last
two weeks here and in adjoining Ormond Beach.
   Two men arrested last week tipped off police to the apartment,
which they said also had been used by two other men as a stash house
for stolen property. Ryan said he suspects the other men took the
violin in an Oct. 20 burglary.
   Violins made by Steiner, who died in 1683, may be even rarer than
those of the Italian Antonio Stradivari because Steiner made fewer
of them, according to some collectors.
   According to library records, Stradivari made about 650 violins.
   The series of about 18 burglaries netted the crooks between
$35,000 and $50,000 in jewelry and guns, police said.
   The two arrested, Jason Lee Signore, 18, and Edward Revas, 20,
were picked up in an unrelated burglary, detectives said.
</TEXT>
</DOC>

Qid: 350	Rank: 14	Score: 18.521982
<DOC>
<DOCNO> WSJ880705-0079 </DOCNO>
<HL> Violin Makers Fret As Musicians Fiddle With Their A-Strings --- Demand for Modern Sounds From Ancient Instruments Arouses Fear of Damage </HL>
<AUTHOR> Philip Revzin (WSJ Staff) </AUTHOR>
<SO> </SO>
<DATELINE> CREMONA, Italy  </DATELINE>
<TEXT>
    The 80 master violin makers of this North Italian town share a collective nightmare:
   A famous violinist is midway through a vigorous Beethoven cadenza on a priceless Stradivarius. 
The 300-year-old instrument -- its strings stretched taut to produce a strong, brilliant sound -- begins to groan, then cracks. 
Suddenly, it explodes. 

   "It could happen," warns violin maker Stefano Conia as he fondly strokes the belly of one of his glistening new violins in his crowded workshop. 

   So far, it apparently hasn't, at least like that. 
But that's irrelevant. 
This is where Antonio Stradivari, Nicolo Amati and Giuseppi Guarneri del Gesu made their world-renowned stringed instruments in the 17th and 18th centuries. 
And that imposes a special burden on residents. 
So Mr. Conia worries. 
"What people are doing to these old violins is crazy," he says. 

   Calmly stated, what people are doing is tuning old violins according to new musical fashion. 
A more passionate view might be that musical treasures are being dangerously souped up to keep pace with unreasonable competitive demands. 

   The problem begins at A. 
In fact, that's pretty much the whole problem. 

   When the first Cremonese masters were making their violins, violas and cellos, everybody agreed that the pitch of A above middle C was around 420 cycles per second, or 420 hertz. 
Since A is the tuning note on which other notes -- up and down -- are based, first A is tuned in, then all strings are tightened accordingly. 
With A at 420 hertz, these instruments, which many say are unequaled for tone quality, sounded warm and rich among the few other strings in a small chamber orchestra. 

   But as orchestras and concert halls got bigger, musicians started to tune their instruments sharper, raising the pitch of A and thus all other notes. 
The more brilliant, more piercing sound could be heard above other players and delight listeners even at the top of the third balcony. 

   The more that violinists tightened their strings, the more pressure they put on their violin bodies. 
Singers had to reach for higher notes, putting more pressure on their bodies, too. 
By the time Giuseppi Verdi was writing his operas in the mid-19th century, A had sharpened to 435 hertz. 
That, Verdi thought, was enough for both man and machine. 
He got an international meeting in Vienna in 1885 to fix A at that level. 

   It didn't last. 
In 1939 another international meeting set A at 440 hertz, which is what comes from Mr. Conia's tuning fork. 
He takes it off a peg on the wall and bings it on his chair. 
"Even 440 is too much, but okay, let's stop there," he says. 

   Few have. 
Many orchestras tune today to 443, 445, or even 450 hertz, stretching strings ever tighter. 
Sergio Renzi, director of Cremona's violin-making school, says he has heard of tunings of 460 hertz. 

   That's just "murderous" for any violin, he says, and especially so for the 500 to 600 old Cremonese violins still being played (out of a couple of thousand produced by the masters). 
These instruments are usually on loan to stellar soloists from investors who buy them at auction or privately. 
Values range from six figures into the millions. 
A Stradivarius cello used by Yo Yo Ma went for $1.2 million last month. 

   The idea is that the instruments are kept healthy by use; stashed away unplayed, their vitality withers. 
But what kind of use? 
"The strings are now pulled so tight that they put enormous strain, driving the bridge {the small wood piece that holds up the strings} right down into the belly," Mr. Conia says, pressing on the midsection of his violin. 
He argues that even reinforcements and alterations made to most old Cremonese instruments over the years won't stand much more. 

   "New violins are built for this, but 300-year-old wood can't take it," he says. 

   So concerned are the Cremonese that at a recent conference to mark the school's 50th birthday and the 250th anniversary of Stradivari's death, experts called for a return to 432 hertz as the standard A. 

   So far, reaction has been akin to the sound made by a violin with no strings at all. 
"There's no crisis, just a problem that has been around for 100 years," says Laurence Libin, curator of musical instruments at the Metropolitan Museum of Art in New York. 
"The Italians are always issuing grand statements but nobody pays much attention to them." 

   Says conductor Georg Solti: "I've never seen or heard of a violin breaking because of the pitch, but it is pretty high today and it's very bad for the singers -- they can't reach the high notes." 
He prefers 440, no higher. 
Some say that while there may not yet be cases of catastrophic breakage, they have seen gradual damage. 
Higher tuning is championed by orchestral players who want to stand out in the middle of the second violin section, but disapproved by some soloists who want to safeguard their investments. 

   Yehudi Menuhin, the violinist, conductor and teacher, plays a 1742 Guarneri known as "the Lord Wilson" and valued at $2.5 million. 
He favors a lower tuning but thinks the proposed pre-Verdi-era 432 hertz is unrealistic. 
"Our modern ears would consider that rather flat. 
The consumer wants his music brilliant and glossy." 

   That's too bad, too, Sir Yehudi feels. 
"Our ever more competitive age has not only pushed up inflation, it's pushed up the pitch. 
The Viennese are the guiltiest, the British the gentlest. 
A British oboist will often give you a nice, low A, so you can tune right down." 

   These days, as soon as he comes offstage, Sir Yehudi loosens his violin's A and E strings completely. 
But he has given up arguing with conductors about tuning. 
"It's hopeless. 
The most you can hope for is that the orchestra plays in tune at all." 

   Conductor Antonio de Almeida, though himself a proponent of lower tuning, maintains conductors can't do much anyway, given commercial considerations. 
"Music has become such a business, everybody says to hell with what comes naturally. 
If it sells, let's do it," he says. 
"Any move to a lower A would run into tremendous resistance. 
If a record company gets better compact-disk recordings with a higher A, that's what they'll go for." 

   That's fine with some people, too. 
"Life is hard enough. 
Brilliance is what it's all about," says Elmar Olivira, a prize-winning soloist who plays a 1692 Strad worth about $400,000. 
"Nobody can stand up in front of the Philadelphia Orchestra and hope to project and stand out at 435 hertz." 

   He says his violin is in "wonderful shape" despite centuries of playing, and he's comfortable at tunings between 442 and 447 hertz. 
"Violins don't exist in isolation, they exist to be played," he says. 

   In Cremona, however, the goal is brilliance without side effects. 
Most makers produce a couple of dozen violins a year, priced from $5,000 to $10,000. 
Mr. Conia's workshop, typically, is littered with bits of violin bodies, reeks of resinous varnish and hums to the sound of violin concertos played continuously over the stereo system. 
He painstakingly shapes thin strips of pine and maple, and applies 30 coats of varnish, as did Stradivari. 

   And he continues to battle. 
He often plays in local churches and town halls. 
The churches he prefers are ones with old, slightly flat organs. 
"I can tune way, way down, and be nice to my violin," he says, giving it a pat. 
"And nobody can tell the difference." 

</TEXT>
</DOC>

Qid: 350	Rank: 15	Score: 16.793161
<DOC>
<DOCNO> AP900430-0038 </DOCNO>
<FILEID>AP-NR-04-30-90 1007EDT</FILEID>
<FIRST>d a PM-BRF--StuntPlaneCrash     04-30 0160</FIRST>
<SECOND>PM-BRF--Stunt Plane Crash,0164</SECOND>
<HEAD>2 Dead as Stunt Plane Crashes</HEAD>
<DATELINE>NEW HAVEN, Mich. (AP) </DATELINE>
<TEXT>
   A stunt plane failed to come out of a
spin and crashed, killing its owner-pilot and a member of the
Polish Air Force, authorities said.
   Gordon Moore, 45, and Andrzey T. Rakoczyk, 50, died instantly
when Moore's single-engine plane crashed Sunday near the New
Haven-Macomb County Airport, the county Sheriff's Department said.
   Moore and Rakoczyk hat about a mile from the burglary scene.
   Most of the stolen items were in the car, Ambrose said. The
violins, both in a single, felt-lined case, were among the
recovered loot displayed by police for reporters.
   ``Obviously, he didn't realize what he had taken. For that we
can be thankful,'' said Karkar, who is in the electronics business.
The violins are his, and he said he practices on them regularly.
   Stradivarius violins, made in the 17th and 18th centuries by the
Italian craftsman Antonio Stradivari and his sons, are generally
considered the finest in the world. Guarnerius violins, made during
the same period by the Guarneri family, are also highly prized.
   Police said they also recovered an antique clock worth about
$2,500, a candelabra, some gold coins and a Persian carpet.
   Ambrose said the burglary took place when the occupants were at
home.
   ``We didn't set the burglar alarm before we went to bed,''
Karkar said. ``But we will from now on.''
   Makarova, 49, rose to fame at the Kirov Theater in Leningrad in
the 1950s and 1960s and fled the ballet company during a London
tour in 1970. She said she wanted to broaden her career by
performing modern dances not staged in the Soviet Union.
   She returned to the Kirov in February 1989, performing a special
pas de deux with her partner, Alexander Sombart.
</TEXT>
</DOC>

Qid: 350	Rank: 16	Score: 15.539301
<DOC>
<DOCNO> AP880826-0215 </DOCNO>
<FILEID>AP-NR-08-26-88 2007EDT</FILEID>
<FIRST>u a AM-HomelessAuthor     08-26 0546</FIRST>
<SECOND>AM-Homeless Author,0560</SECOND>
<HEAD>Homeless Author Is Offered Shelter by Widow of Violin Thief</HEAD>
<BYLINE>By CAROLYN LUMSDEN</BYLINE>
<BYLINE>Associated Press Writer</BYLINE>
<DATELINE>SPRINGFIELD, Mass. (AP) </DATELINE>
<TEXT>
   A best-selling author whose hard luck
has forced him to live out of his van was offered shelter by the
widow of a man who harbored a famous stolen violin for almost 50
years.
   Marcelle Hall, of Bethel, Conn., said Friday she tracked down
Charles Webb, author of ``The Graduate,'' and his ex-wife wife at a
western Massachusetts motel earlier this week and offered to take
them in after reading of their plight.
   ``I jumped right to the phone as if some power was leading me,''
Mrs. Hall said in a telephone interview. ``I saw their picture and
I thought, `They probably do the same things I do, give it all
away, and sometimes you get shafted.'''
   She said she hoped Webb would write a book about the stolen
violin and how she came to be married to the man who held it for a
half-century.
   But Webb's ex-wife, who uses only the name Fred and who
continues to live with him, said Webb might not be able to write
such a book.
   ``The only problem is that Charles doesn't know if he can write
the story about the violin. He hasn't written anything factual,''
she said.
   Mrs. Hall gained national attention last year when she said her
second husband, Julian Altman, confessed before he died in Aug. 15,
1985, that his violin was a stolen Stradivarius he had bought for
$100 from the man who had stolen it. The violin was stolen at New
York's Carnegie Hall in 1936 from Bronislaw Huberman, an
internationally known violinist who died in 1947.
   The violin was authenticated for its insurer, Lloyd's of London,
which had paid $30,000 to Huberman. Last year, Lloyd's insured it
for $800,000 and reportedly intended to sell it, and Mrs. Hall said
Lloyd's was going to pay her a reward.
   Mrs. Hall said she met Altman in Washington in 1968 and they
married in Las Vegas in March 1985, two days before he was
sentenced to two years in jail for sexually molesting one of her
granddaughters.
   She said Friday that she had married him to regain control of
her financial holdings. After serving four months of his sentence,
he was diagnosed with stomach cancer and moved to a hospital where
he died, Mrs. Hall said.
   Webb's 1962 novel was made into the hit movie of the same name
starring Dustin Hoffman. The movie evoked the discontent of a
generation fed up with materialism. He and Fred came to
Massachusetts in search of a publisher after living for a decade in
their van in southern California.
   In more prosperous days, the Webbs had given away two houses out
of a need, Webb said, to ``get free of things.''
   Fred said the couple would drive to Connecticut on Saturday to
meet Mrs. Hall and consider the offer. ``It sounds a little bit
gothic, but we might be able to handle something like that,'' she
said.
   Webb wrote four novels until 1978, when he stopped writing.
   The Webbs divorced eight years ago after 20 years of marriage
because they believed the institution of marriage violated their
constitutional rights to freedom, Fred said.
</TEXT>
</DOC>

Qid: 350	Rank: 17	Score: 14.785423
<DOC>
<DOCNO> LA050190-0107 </DOCNO>
<DOCID> 212373 </DOCID>
<DATE>
<P>
May 1, 1990, Tuesday, Home Edition 
</P>
</DATE>
<SECTION>
<P>
Calendar; Part F; Page 2; Column 1; Entertainment Desk 
</P>
</SECTION>
<LENGTH>
<P>
82 words 
</P>
</LENGTH>
<HEADLINE>
<P>
MORNING REPORT: DANCE 
</P>
</HEADLINE>
<BYLINE>
<P>
By GREG BRAXTON, Arts and entertainment reports from The Times, national and 
international news services and the nation's press. 
</P>
</BYLINE>
<TEXT>
<P>
Stolen Violins Recovered: San Francisco police recovered a Stradivarius and 
another violin, with a total value of more than $2 million, that were snatched 
in a daring burglary at the home of former Soviet ballerina Natalia Makarova. 
</P>
<P>
Her husband, Edward Karkar, said the thief "obviously" was not aware of the 
violins' value. Police arrested Robert Fisher, 27, of San Francisco, in 
connection with the robbery. Makarova recently retired from the American Ballet 
Theatre. GREG BRAXTON 
</P>
</TEXT>
<TYPE>
<P>
Column; Brief 
</P>
</TYPE>
</DOC>

Qid: 350	Rank: 18	Score: 14.654671
<DOC>
<DOCNO> WSJ870206-0075 </DOCNO>
<HL> Your Money Matters:
Old Instruments
Hit Sweet Notes
For Wise Buyers
---
By Julie Amparano
Staff Reporter of The Wall Street Journal</HL>
<DD> 02/06/87</DD>
<SO> WALL STREET JOURNAL (J)</SO>
<TEXT>
   Charles Rudig, director of Sotheby's musical instrument department in New York, scours flea markets, auctions and antique shops for harpsichords, oboes and the like -- for himself and for the company. 
Some of his finds cram his New York apartment and a rented storage room. 

   Among them is a Cramer celesta, an unusual antique English keyboard instrument that produces bell-like tones. 
Mr. Rudig came across the celesta on an outing in 1980. 
"I just had to have it," he says. 
He paid $500 for it. 
The instrument was recently appraised at $2,000. 

   For the right kind of investor, musical instruments offer the possibility of good returns -- and, perhaps, more tangible enjoyment than securities in a safe-deposit box. 
But investment advisers caution that the field isn't for those without expertise or substantial resources. 

   James D. Koster, an investment adviser in Tucson, Ariz, says that while musical instruments can appreciate rapidly, they can be difficult investments. 
As with other collectibles, liquidity is a problem: If a need for cash arises, it may be difficult to find a buyer quickly for an antique instrument. 
And unlike a block of stock, "you can't sell a little piece of a violin. 
You have to sell the whole thing." 
Also, some instruments require special maintenance. 

   Investors shouldn't tie up more than 15% of their assets in instruments, Mr. Koster says. 
But despite the limitations, he says, instruments offer a "very exciting investment with high appreciation." 

   Many appraisers, however, expect appreciation in the coming decade to fall short of the gains of the past 20 years. 
While the future of any collectible market is hard to predict, appraisers say they expect antique instruments generally to double in value over the next decade. 
At the start of the boom 20 years ago, prices of some instruments rose ten-fold in about three years. 
Since then, prices generally have doubled about every five years. 

   The spurt has been fueled by investors who earlier concentrated on paintings and sculpture, says Mr. Rudig of Sotheby's. 
These investors came to view antique instruments as works of art with musical value, he says. 
As with many other collectibles, the rapid inflation of the 1970s boosted values. 
Changing musical tastes also have played a part: More and more orchestral musicians are seeking an antique sound they can only get from older instruments, he says. 

   Potential investors who aren't expert in the field should have instruments appraised before buying them, says Fred W. Oster, an official in Christie's musical instrument department. 
A hairline crack in the wrong place, he says, can be enough to make an instrument virtually worthless. 

   One basic rule: An instrument that can't be played isn't worth much. 
A St. Louis investor paid $500 for a vintage flute, then discovered that it made only a honking sound. 
To date, he hasn't been offered more than $100 for it. 

   In general, specialists say, the most lucrative instruments are antique strings -- violins, violas and cellos. 
Buying this kind of fine antique involves little risk, they say. 
Violins are considered the most valuable member of this group; their rate of appreciation is highest. 
A Stradivarius that sold 20 years ago for about $40,000 now commands more than $400,000. 

   More modest investments are available in antique woodwinds, like flutes, oboes and recorders. 
Sydney G. Rosenblatt of Philadelphia sold a Haynes flute last December for about $3,500. 
While he won't disclose his profit, he says the item would have brought about $1,500 a decade ago. 
But woodwinds involve more risk than string instruments, because their prices haven't been as long established. 

   Michael Sweeney, who owns a piano store in Philadelphia, says American pianos built between the turn of the century and the Depression have become collectibles. 
Marilyn Gushner, a housewife in Gladwyne, Pa., bought a 1924 Cunningham player piano four years ago for $3,600 while it was "still in a million pieces." 
She recently had it appraised at $6,000. 

   The instruments of famous musicians, even if not antiques, can draw hefty prices. 
Efrem Kurtz, a conductor, reaped a windfall when he auctioned off a platinum flute that had belonged to one of America's greatest flutists, William Kincaid. 
Last October, at Christie's in New York, the flute brought $187,000, the highest price ever recorded for a woodwind instrument. 

</TEXT>
</DOC>

Qid: 350	Rank: 19	Score: 13.828179
<DOC>
<DOCNO> WSJ870430-0012 </DOCNO>
<HL> What's News --
World-Wide</HL>
<DD> 04/30/87</DD>
<SO> WALL STREET JOURNAL (J)</SO>
<TEXT>
   A FUND-RAISER PLEADED guilty to an Iran-Contra charge and implicated North. 

   Conservative activist Carl "Spitz" Channell admitted to conspiring to defraud the government by funneling $2.1 million in tax-exempt donations to the Nicaraguan insurgents. 
He named fired White House aide North as a participant in the conspiracy to arm the rebels. 
Channell, the first figure in the Iran-Contra affair to have criminal charges brought against him, also agreed to cooperate in independent counsel Walsh's inquiry. 
The move comes less than a week before congressional panels are to open hearings on the affair. 

   Leaders of the congressional Iran-Contra panels said retired Air Force Maj. Gen. Secord would be the first public witness at hearings Tuesday. 

   ---
   The Pentagon is investigating reports that a Japanese company and a Norwegian intermediary were involved in selling to the Soviet Union sophisticated metal-working machines that could be used to make submarines harder to detect. 
Senate aides identified the firms as Toshiba Corp. and arms-maker Kongsberg. 

   ---
   Authorities in Buenos Aires said a former army officer who had been a fugitive since leading a rebellion in Cordoba two weeks ago surrendered to federal officials. 
Former Maj. Ernesto Barreiro's refusal to testify in a human-rights case led to the revolt at the Cordoba military camp, and sparked a similar uprising outside the capital. 

   ---
   A Nicaraguan rebel leader acknowledged that the insurgents killed an American, Benjamin Linder, of Portland, Ore., but said the death was an accident of war. 
In Washington, while expressing regret over Linder's death Tuesday, the White House said Americans working in Nicaragua in support of the Sandinistas are "in harm's way." 

   ---
   The Bonn government warned the kidnappers of two West Germans in Beirut that it would extradite a Lebanese man to the U.S. unless the captives are released, the Hamburg-based Bild newspaper reported. 
The Lebanese, Mohammed Ali Hamadi, is wanted in the U.S. in connection with the 1985 hijacking of a TWA jetliner. 

   ---
   Massachusetts Gov. Dukakis announced his candidacy for the 1988 Democratic presidential nomination. 
In making his formal declaration in Manchester, N.H., Dukakis emphasized his plans to create "vibrant and sustained economic growth that provides genuine opportunity for all Americans." 

   ---
   A Senate panel recommended that the new U.S. Embassy in Moscow be razed and another structure erected. 
The Intelligence Committee also suggested that State Department security offices be reorganized into a single unit and that foreign national employees be replaced by Americans. 

   The State Department faulted a House subcommittee for subpoenaing allegedly withheld documents relating to the spy scandal involving former Marine guards at the U.S. Embassy in Moscow. 
A spokesman said "nothing has been denied to Congress." 

   ---
   PTL officials have begun examining the holdings of evangelist Jim Bakker to determine which of his assets may have been acquired with ministry funds, a spokesman for the Rev. Jerry Falwell said. 
The assets include two homes and luxury cars. 

   ---
   South African riot police surrounded a black union headquarters in Johannesburg while officers searched the building following the murders of four state railway workers. 
At least 11 people were detained after police entered the building, where members of the railway union were discussing their seven-week-old strike. 

   ---
   The Senate Rules panel approved a bill that would establish spending limits on primary and general election campaigns for Senate candidates. 
The limits would be tied to partial public financing for general elections funded by an income-tax check-off system, similar to that already used for presidential campaigns. 

   ---
   An Italian concert violinist bought a 271-year-old Stradivarius violin for the equivalent of about $726,000, the highest auction price ever paid for a musical instrument, Christie's auction house said. 
The violin, known as "the Colossus," is one of between 600 and 700 surviving violins made by Antonio Stradivari of Cremona, Italy. 

   ---
   Prime Minister Mulroney said Waldheim wouldn't be welcome in Canada, but a spokesman noted that Ottawa hasn't any plans to issue a formal ban against the Austrian president because of alleged Nazi war crimes. 
In Vienna, a dispute arose over whether Chancellor Vranitzky should cancel his visit to the U.S. next month. 

   ---
   Israeli Foreign Minister Peres said several high-ranking Palestinians have "tired" of the PLO and would be willing to negotiate peace in the Mideast. 
In Paris, Israeli Premier Shamir said the question of an international forum on Mideast peace could prompt early elections, which he said might damage efforts to improve the economy. 

   ---
   Communist and Moslem rebels said they were joining forces on Mindinao Island to fight the Philippine government. 
The announcement came as authorities in Manila reported that four people were killed in two separate attacks. 
Police also said that the bodies of three Aquino campaign workers, missing since Sunday, had been found. 

   ---
   Pope John Paul II is scheduled to begin today a five-day trip to West Germany that includes the beatification of a Jewish-born nun who was killed by the Nazis at Auschwitz. 
The nun's beatification is opposed by some Jews, who contend that the Vatican would be honoring someone who deserted Judaism for Catholicism. 

   ---
   Researchers in Atlanta said that a common, non-surgical procedure for opening clogged or narrowed arteries leading to the heart has produced encouraging results. 
They found that a majority of 169 patients who underwent the balloon angioplasty procedure were symptom-free five-to-eight years after receiving the treatment. 

   ---
   A Pakistan air force jet was downed while chasing Afghan aircraft near the northwest border, Islamabad's official news agency reported. 
It said the plane was hit by a missile as it followed a formation of intruding Afghan aircraft. 
The plane reportedly was the first lost by Pakistan in numerous cross-border raids by both sides. 

</TEXT>
</DOC>

Qid: 350	Rank: 20	Score: 13.126976
<DOC>
<DOCNO> SJMN91-06288192 </DOCNO>
<ACCESS> 06288192 </ACCESS>
<DESCRIPT>  PENINSULA; BRIEF  </DESCRIPT>
<LEADPARA>  THE CONCERN now is not the eagle's survival, but whether it will be able to
soar like an eagle again. The golden eagle found suffering from shotgun wounds
in Woodside last month is expected to live.;   The original prognosis for the
bird discovered on Whiskey Hill Road in mid-September was not good. The male
bird, estimated to be 4 to 8 years old, has a broken, infected left wing. In
addition to blindness in one eye, the bird also suffered head injuries.  </LEADPARA>
<SECTION>  Local  </SECTION>
<HEADLINE>  GOLDEN EAGLE'S FLIGHT IN DOUBT  </HEADLINE>
<MEMO>  Today on the Peninsula; Shorter version ran on page 2B of the Morning Final
edition  </MEMO>
<TEXT>     Rescue workers at first were pessimistic about its chance of survival. But
the eagle pulled through, and the infection is under control. "He's much
perkier," said Valerie Baldwin, a Wildlife Rescue Inc. worker who is taking
care of the raptor. The bird now weighs 9.4 pounds, two more than when it was
first brought in.;   Last week, veterinarian Ron May-Pumphrey operated on the
bird to reset a pin in its injured wing. Whether it ever will fly like an
eagle again remains in doubt. "It may be weeks, it may be months," Baldwin
said, "before we'll know for sure.";   Of course, should the eagle lose its
ability to fly, it will be kept in captivity for the rest of its life.;  
Meanwhile, there is no progress in the search for whoever shot the bird, said
Special Agent Ken McCloud of the U.S. Fish and Wildlife Service. The
up-to-$25,000 reward has given investigators a few leads, McCloud said. But,
"nothing has been solid so far," he said.; SAY WHAT?: Stanford President
Donald Kennedy spoke at the Commonwealth Club last Friday. Afterward, he was
asked what he thought of the controversial and wacky Leland Stanford Jr.
Memorial Marching Band. "Do we have a band?" Kennedy asked, then he went on to
quote '60s folk singer Tom Lehrer, who wrote such songs as "Vatican Rag": "My
muse is not feathered by such inhibitions as taste."; FIDDLES WANTED: Mountain
View schools are looking for a few violins for their string-instrument
students. Higher enrollment and shrinking budgets have forced school officials
to look for alternative ways to come up with 25 violins to meet the demands of
youngsters who can't afford the instrument.;   The string-music program at
Graham Middle School and the four elementary schools now has more than 175
students, said Linda Snyder, a string-music teacher. "We have so much more
interest than we have had in the past," she said.;   Last year, the district
was able to purchase eight new violins. This year, none. It's not as though
the district is looking for a Stradivarius. Still, a "bottom of the line"
violin costs $255-250 if bought in a bunch of five, Snyder said.;   If you
have an old violin that is no longer being used, the students can sure use it.
Donations are tax deductible. Call Graham Principal Gay Krause at (415)
965-9292.  </TEXT>
<BYLINE>  De Tran column  </BYLINE>
<COUNTRY>  USA  </COUNTRY>
<EDITION>  Peninsula/Am  </EDITION>
<CODE>  SJ  </CODE>
<NAME>  San Jose Mercury News  </NAME>
<PUBDATE>   911014  </PUBDATE> 
<DAY>  Monday  </DAY>
<MONTH>  October  </MONTH>
<PG.COL>  1B  </PG.COL>
<PUBYEAR>  1991  </PUBYEAR>
<REGION>  WEST  </REGION>
<STATE>  CA  </STATE>
<WORD.CT>  496  </WORD.CT>
<DATELINE>  Monday, October 14, 1991
00288192,SJ1  </DATELINE>
<COPYRGHT>  Copyright 1991, San Jose Mercury News  </COPYRGHT>
<LIMLEN>  1  </LIMLEN>
<LANGUAGE>  ENG  </LANGUAGE>
</DOC>

Qid: 350	Rank: 21	Score: 12.723169
<DOC>
<DOCNO> WSJ880713-0127 </DOCNO>
<HL> Tax Report: A Special Summary and Forecast Of Federal and State Tax Developments </HL>
<AUTHOR> Scott R. Schmedel </AUTHOR>
<SO> </SO>
<CO> TAXES GOVMT LABOR </CO>
<IN> FIN STK SCR BON REL CON BNK </IN>
<G> IRS JUS CNG </G>
<TEXT>
   FIDDLE RIDDLE: Is there life after 250 for a Stradivarius? 

   Musician Louis A. Browning of Portland, Ore., paid $130,000 for a Stradivarius made in 1736, $27,000 for a 1779 Gabbrielli, and $24,000 for a 1675 Ruggeri. 
He sought to depreciate them over 12 years, to the tune of more than $15,000 a year in deductions. 
But the IRS denied the deductions, challenging the 12-year-useful-life forecast as too short and arguing that the rare violins' "salvage" value would rise, not fall to zero. 
So Browning appealed to the Tax Court. 

   Browning, backed by a dealer, said the Strad ("not a prime specimen") and its value would deteriorate with use. 
Yet the dealer had appraised it for insurance at $225,000 five years after selling it to Browning and wouldn't speculate on the value after 12 years. 
Judge Hamblen found no evidence that the Strad would be worthless after 12 years or that its useful life would end at that point. 
Browning offered no direct evidence relating to the other two violins. 

   Browning's claims were "arbitrary and unreasonable," the judge said in upholding the IRS. 

   THIS IRA CHECK missed the trick: It bounced instead of rolling over. 

   You may withdraw cash temporarily from an individual retirement account and escape a tax or penalty, if you roll it all over into another IRA in 60 days. 
That's a rigid "if," as a chap we'll call Chip found. 
He took cash from an IRA at one bank last Aug. 14 and wrote a check on Oct. 7 for a rollover IRA at another. 
He drew the check on yet a third bank, where a clerical error had restricted his account's credit. 

   Chip's check bounced. 
After clearing up the snafu, he wrote a new check on Oct. 28 -- two weeks after the 60-day deadline -- that set up a new IRA on Nov. 2. 
The delay wasn't my fault, he told the IRS, so I should be allowed a rollover. 
Not so, says IRS private ruling 8824047: Tax law and regulations don't permit any waivers or extensions of the 60-day period. 
Chip's transaction fails to qualify as an IRA rollover. 

   EQUITY BEATS OUT consistency in handling disgorged profits, it appears. 

   Last week, U.S. Judge Owen in New York denied requests by insider-trader Dennis Levine and conspirator Robert Wilkis to pay back taxes out of disgorged profits, not other resources. 
The profits are to be held in trust "for the benefit of defrauded investors," the judge ruled. 
Yet in October, Owen had granted the similar requests of ring members Ira B. Sokolow and David S. Brown. 
So lawyers for Levine and Wilkis denounced the unfavorable inconsistency. 

   What's going on? 
Owen's rulings don't address consistency directly, but suggest it's irrelevant. 
Tax claims may be paid at the court's "equitable discretion," he wrote in October; he considered the defendants' roles in the conspiracy, the amounts of their profits, and other factors. 
As to ringleader Levine and Wilkis, he wrote last week, the courts "have general equity powers to remedy violations of the securities laws and to fashion appropriate remedies." 

   The IRS, eager for its share, hasn't indicated whether it will appeal the latest ruling. 

   I WON'T PAY the $60 filing fee or show I can't pay, Bruce Charles Frazier of Pasadena, Calif., told the Tax Court in appealing an IRS bill; he wanted a waiver for raising a constitutional issue. 
But for not paying, the court has dismissed his claims; it also upheld a civil fraud penalty. 

   EMPLOYERS now are liable for Social Security tax on unreported tip income uncovered in audits of employees. 
An employer can set up a reserve for that contingency; but doing it may look like an admission of incorrect tip reporting, warns David J. Silverman, a New York tax adviser. 

   WAYS AND MEANS adds Clay Shaw (R., Fla.) to fill a vacancy caused by the death of the House committee's ranking minority member, John Duncan (R., Tenn.). 
Bill Archer of Texas succeeded Duncan as the committee's ranking Republican member. 

   MORTGAGE SUBSIDIES would be targeted to more of the needy. 

   State and local authority to sell exempt bonds to finance low-interest mortgages for first-home buyers expires Dec. 31. 
Tax-bill writers propose to extend it through 1990 and to tighten eligibility in response to critics and suggestions from the General Accounting Office, which has questioned the efficacy of the subsidies. 
The aim is to get aid to the needy and exclude many families that can afford market-rate mortgages. 

   The bill doesn't go as far as the GAO would. 
But it would lower the income ceiling for childless families, giving an advantage to parents. 
It would adjust income limits in areas where housing costs are very high or very low in relation to income. 
And as people tend to sell homes when their incomes rise, it would reward long-term possession: Generally, the government would recapture all or part of the subsidy from a homeowner who sold within 10 years. 

   Among other things, the GAO suggested limiting aid to parents over the age of 30. 

   BRIEFS: Just out are reporting requirements for the Social Security tax on employer-paid premiums for group term life insurance; see IRS Notice 88-82. . . . 
The IRS could reduce futile investigations of nonfiling businesses by eliminating duplicate identification numbers, publicizing the need to file quarterly employment-tax returns, and updating its records more accurately with the results of its investigations, the General Accounting Office says. 

</TEXT>
</DOC>

Qid: 350	Rank: 22	Score: 12.455082
<DOC>
<DOCNO> AP890520-0018 </DOCNO>
<FILEID>AP-NR-05-20-89 0218EST</FILEID>
<FIRST>r a PM-HolsterArtisan Bjt   05-20 0568</FIRST>
<SECOND>PM-Holster Artisan, Bjt,0586</SECOND>
<HEAD>Idaho Craftsman Makes Holsters That Hold</HEAD>
<HEAD>Laserphoto BD1</HEAD>
<BYLINE>By PAUL ERTELT</BYLINE>
<BYLINE>Associated Press Writer</BYLINE>
<DATELINE>IDAHO CITY, Idaho (AP) </DATELINE>
<TEXT>
   While her husband was flying Navy
planes during World War II, Bonnie Sparks bought a handicraft kit
for a leather purse to help pass lonely hours in their New York
City apartment.
   When Milt Sparks came home, he was intrigued by his wife's
hobby, which he developed a quarter-century later into the business
of making high-quality holsters sought by gun enthusiasts and
police around the world.
   Wiley Clapp, feature editor of Guns and Ammo magazine and owner
of several Milt Sparks Holsters, calls them ``the very, very
best,'' the first choice of many knowledgeable pistol owners.
   ``I'm sure in the days of Stradivarius there were other violin
makers,'' Clapp said. ``But the virtuoso used a Stradivarius.''
   The dirt-road outskirts of this former gold boom town provide a
natural location for Sparks' shop. The town's wooden sidewalks
would make an Old West gunslinger feel at home.
   But Sparks said the Wyatt Earps of yesteryear wouldn't stand a
chance in a modern-day showdown.
   ``I think that any modern pistolero could clean out the OK
Corral before they could get their guns out of their holsters,'' he
said.
   All holsters are not created equal, it seems.
   ``A holster can quite simply be a matter of living or dying,''
said Mike Waidelich, a Bakersfield, Calif., detective. ``When you
use it 40 hours a week, it needs to be very serviceable. It needs
to be right.''
   Three years ago, Waidelich convinced Bakersfield's 235-member
police force to make the Sparks standard equipment although it cost
about 50 percent more than the holsters they were using.
   Before strapping on a Sparks, Waidelich once had his pistol fall
out of his holster while chasing a suspect. Another time he spent
15 minutes coaxing his weapon out of a poorly designed holster, he
said.
   A Sparks holster is crafted to hold the weapon snugly as an
officer runs or climbs over a fence, but relinquish it when it's
needed, Waidelich said.
   Tony Kanaley, Sparks' shop manager, estimates that 60 percent of
the company's business is from police officers. Clients also
include such celebrities as Hank Williams Jr. and Kareem
Abdul-Jabbar.
   Sparks starts with a stiff piece of vegetable-tanned cowhide.
Kanaley grades and cuts all the leather, and an individual worker
is responsible for finishing the job.
   Sparks said his motto is: ``Do it right.''
   ``Don't sacrifice your integrity to make money,'' he said. ``If
it's not right, if it doesn't save a man's life in a pinch, then
don't do it.''
   In the beginning, satisfaction in a job well done was Sparks'
sole reward. ``Now, I want to make a little money,'' the
72-year-old Sparks said.
   Recently he has been able to leave many day-to-day duties to
Kanaley and his three-person crew, freeing him to travel,
participate in shooting competitions and promote his products.
   Sparks, a former charter pilot and flight instructor, worked
briefly during the late 1940s for a Boise belt and holster maker,
but did not become serious about his craft until 1971 when a fellow
pilot asked him to make a holster.
   Impressed with the results, the friend convinced him there was a
market for well-made holsters.
   The following year Sparks quit his job as a pilot for the U.S.
Bureau of Reclamation and in 1973 moved to Idaho City.
</TEXT>
</DOC>

Qid: 350	Rank: 23	Score: 12.430700
<DOC>
<DOCNO> SJMN91-06167017 </DOCNO>
<ACCESS> 06167017 </ACCESS>
<CAPTION>  Photos (2); PHOTO: Conductor Roger Norrington, left, hit the mark conducting
violin soloist PHOTO: Thomas Zehetmair in an authentic interpretation.  </CAPTION>
<DESCRIPT>  MUSIC; SHOW; REVIEW  </DESCRIPT>
<LEADPARA>  SAN FRANCISCO THE trial is over, and Antonio Salieri has been exonerated on
the charge of poisoning rival composer Wolfgang Mozart in 1791. A belated
decision, yes, but, as you know, the court dockets have been clogged.;    Once
that business was settled in a pre-concert "trial" at Davies Symphony Hall on
Thursday, one of the Mozart &amp; His Time festival events, the duly inspired San
Francisco Symphony gave one of its best-ever all-Mozart concerts.  </LEADPARA>
<SECTION>  Living  </SECTION>
<HEADLINE>  ORDER IN THE VIOLIN SECTION
S.F. SYMPHONY, GUEST SOLOIST DO JUSTICE TO
MOZART  </HEADLINE>
<MEMO>  Classical Music  </MEMO>
<TEXT>     Leading the orchestra was guest conductor Roger Norrington; appearing as
guest soloist was an exceptional Austrian violinist, Thomas Zehetmair.;    The
30-ish Zehetmair is a newcomer who finds in Mozart's violin concertos
dimensions and shifting moods others only hint at. His playing is, by turns,
playful, profound, serious, seductive, ominous and ironic. His theatricality
-- so apt for a composer such as Mozart -- was grand in the popular Fifth
Concerto. His flair, together with the tones from his "Falmouth" Stradivarius,
make these two weeks of concerts (ending June 22) a must, even for those who
have overdosed on Mozart.;    His playing is also true to often neglected
18th-century conventions: He writes his own tasteful cadenzas or display solos
(avoiding chords), adds ornaments to Mozart's repeats and even plays along
with the first violins in the orchestral passages.;    As for conductor
Norrington, his "authentic" interpretations of pre-Chopin compositions in past
years have ranged from interesting to infuriating. But this time he hits the
mark squarely and surely.;    To achieve the desired effects, he has radically
altered the seating for the orchestra, flanking the central woodwinds with
brass, splitting the basses right and left, and placing the violins
antiphonally up front. It works; I could hear the basses for the first time in
ages.;    On Thursday, he remarkably dramatized the little-heard Overture and
Ballet Music from the early opera "Idomeneo," though the long crescendo and
big slowdown in the finale struck me as Mozart as reinterpreted in the age of
Beethoven.;    The spirited F Major Divertimento, K. 138, never before played
by the SFS, is a work with some brooding and engrossing dark corners, as
energized by Norrington.;    The "Haffner" Symphony (No. 35) also took on new
dimensions in this reading, at least in the absorbing outer movements.
Norrington led it without score or baton until the finale, when he suddenly
produced a baton from nowhere and led the way unerringly through the presto.; 
  As for the Salieri trial, it was a half-hour piece of amateurish theater
prior to the concert, with the ad-libbing Melvin Belli as bewigged judge. The
opposing attorneys -- Weyman Lundquist and William Newsom -- seemed not too
familiar with the script even though they had written it themselves. (Belli
and Lundquist are real-life attorneys; Newsom is an appellate-court judge.);  
 Professional actor Peter Donat made a debonair Salieri, denying all the
innuendo about his alleged poisoning of Mozart. Dr. Nancy Snyderman played
Mozart's physician coyly and coolly. The audience acted as jury, freeing
Salieri on a technicality: the lack of any evidence.;    Are we going let
hardened composers like Salieri walk the streets? What about his real crime --
not poison but poison-pen attacks on his rival?;    The jury's still out on
that one.; San Francisco Symphony, Roger Norrington conducting, Thomas
Zehetmair violinist; Where: Davies Symphony Hall, Van Ness Avenue at Grove
Street, San Francisco; When: 8:30 tonight and Sunday at 3; Tickets: $21-$46;
Call: (415) 431-5400  </TEXT>
<BYLINE>  PAUL HERTELENDY, Mercury News Music Writer  </BYLINE>
<COUNTRY>  USA  </COUNTRY>
<EDITION>  Morning Final  </EDITION>
<CODE>  SJ  </CODE>
<NAME>  San Jose Mercury News  </NAME>
<PUBDATE>   910615  </PUBDATE> 
<DAY>  Saturday  </DAY>
<MONTH>  June  </MONTH>
<PG.COL>  3C  </PG.COL>
<PUBYEAR>  1991  </PUBYEAR>
<REGION>  WEST  </REGION>
<FEATURE>  PHOTO  </FEATURE>
<STATE>  CA  </STATE>
<WORD.CT>  594  </WORD.CT>
<DATELINE>  Saturday June 15, 1991
00167017,SJ1  </DATELINE>
<COPYRGHT>  Copyright 1991, San Jose Mercury News  </COPYRGHT>
<LIMLEN>  1  </LIMLEN>
<LANGUAGE>  ENG  </LANGUAGE>
</DOC>

Qid: 350	Rank: 24	Score: 12.246846
<DOC>
<DOCNO> AP881219-0213 </DOCNO>
<FILEID>AP-NR-12-19-88 1343EST</FILEID>
<FIRST>s e BC-APN--Mutter'sMusic ADV01   12-19 1140</FIRST>
<SECOND>BC-APN--Mutter's Music, ADV 01,1189</SECOND>
<NOTE>$Adv01</NOTE>
<HEAD>AGENCIES AND RADIO OUT</HEAD>
<NOTE>For Release Sunday, Jan. 1</NOTE>
<HEAD>From AP Newsfeatures</HEAD>
<NOTE>(APN SUNDAY ILLUSTRATIONS: Mailed print subscribers get 1 b&amp;w
photo. ColorFoto subscribers get 1 35mm slide.)</NOTE>
<TEXT>
   
   EDITOR'S NOTE _ When she won a national competition for young
musicians in her native Germany at age 7, the government allowed her
to drop out of regular school and be tutored at home so she could
spend more time practicing the violin. Today, at age 25, Anne-Sophie
Mutter is more than a child prodigy. She's an international star in
classical music.
</TEXT>
<TEXT>
</TEXT>
<BYLINE>By MARY CAMPBELL</BYLINE>
<BYLINE>AP Newsfeatures Writer</BYLINE>
<DATELINE>NEW YORK (AP) </DATELINE>
<TEXT>
   In her strapless Dior gown with a Stradivarius
tucked under her chin, Anne-Sophie Mutter is the glamour girl among
today's young classical violinists.
   The German-born musician is in the fast lane, zipping around in a
Porsche 911 convertible at up to 100 mph-plus on the Autobahn,
vacationing in her apartment in Monte Carlo. A fan club always
greets her in Japan.
   But aside from fashion, there is a practical reason for the
strapless Dior.
   ``I discovered the violin sounds much better on bare skin and it
is not so slippery,'' she says.
   The 25-year-old Miss Mutter indeed is serious about her music,
and she has the ear of serious musicians, such as Herbert von
Karajan, music director of the Berlin Philharmonic, and Mstislav
Rostropovich, cellist and music director of the National Symphony in
Washington, D.C.
   ``Miss Mutter's gifts include a consummate control of her
instrument, gleaming intonation, ripe sound and an assured,
nerveless stage demeanor,'' wrote Time magazine.
   Last spring, Miss Mutter made her sixth concert tour of the
United States, performing with major orchestras. In December, she
made her first American recital tour, playing solo in 12 cities, all
of the 14 appearances sold out.
   In January she will marry a fellow German, Detlef Wunderlich, a
lawyer. After the honeymoon, she will resume her schedule of 120
concerts a year.
   Miss Mutter started violin lessons at age 6. She won a national
competition for 6- to 24-year-old musicians at age 7 and the German
government gave permission for her to drop out of regular school and
be tutored at home in Wehr, near the southern tip of the Black
Forest. While she did play with her two older brothers and other
children, most of her time was spent with the violin.
   ``I just loved to play the violin and I wanted to play well
because I liked the sound,'' she recalls. ``So I practiced. I grew
up with music as something very precious and something very pure.
   ``My father took care I did not have a child prodigy career. What
can you decide yourself at the age of 6, 8 or 13?''
   Today she has an agent in each country and her father, a
newspaper publisher, coordinates them. Like most classical
musicians, she won't divulge her income.
   Miss Mutter only played a few concerts a year until she started
performing with Karajan.
   After that, she says, ``I didn't have to play with bad orchestras
or audition for each conductor or go through competitions.''
   She had her first personal contact with Karajan in 1976 at age 13
after she performed at an international music festival in Lucerne,
Switzerland. Karajan heard about it and invited her to audition.
   ``I didn't want to go,'' she recalls. ``For such a genius, what
could I do? I pursuaded my parents to postpone. We went on a holiday
to Spain.
   ``In December I flew to Berlin with my father and teacher. Both
were really nervous. I was not nervous. I understood there was not
the slightest bit of hope. Because I had nothing to lose, that is
why I survived this moment.
   She played a Bach ``Chaconne'' and afterward Karajan told her,
``I will be happy to play with you next year in Salzburg.''
   Miss Mutter made her first recording at 15, with Karajan, playing
a Mozart concerto in one take.
   She made four recordings in 1988 for release early in 1989,
including Tchaikovsky's ``Concerto for Violin and Orchestra in D
major,'' with Karajan and the Vienna Philharmonic and Witold
Lutoslawksi's ``Chain 2'' and ``Partita,'' the latter dedicated to
her by Lutoslawski.
   For the past three years Miss Mutter has been playing a 1710 Lord
Dunraven Strad. ``I like the sound,'' she says, ``very silvery and
quick responding, very good projecting.''
   Four years ago, she says with a twinkle, ``I made a very good
step. My parents were against my driving a sports car, saying,
`Don't risk your life.' I decided I will ask Maestro Karajan in
front of my father. He said it was a great idea.''
   Karajan helped her select and order the white 911 Porsche, with
its red leather interior and black convertible top.
   Since 1985, Miss Mutter has played chamber music with
Rostropovich and violist Bruno Giuranna.
   ``Shortly after I made my debut in Washington eight years ago,
with Rostropovich conducting, he said he wanted to return to chamber
music,'' she says. ``He had stopped playing with a string trio 30
years ago.
   ``We've played everywhere in Europe. It was a dream, to play this
repertory, apart from playing it with the greatest cellist and
greatest viola player. You can imagine what a lesson each concert
is. Every phrase you hear from both of them pushes you forward.''
   Krzystof Penderecki is composing a concerto for the
Mutter-Guiranna-Rostropovich Trio.
   The strapless stage dresses didn't begin as a trademark, Miss
Mutter says. She started needing gowns at 14, to perform with
Karajan in Salzburg. But where, at that age, would she find them?
She tried bridemaid's dresses, but found that the sleeves got in the
way. So she bought peasant blouses with elastic necklines so she
could pull the sleeves down on her arms.
   ``I only was looking for comfort. My neck is short, which is
perfect for violin playing without support under the instrument.
   ``One day I felt grown up enough to buy real dresses, not this
child stuff.''
   So she went to Paris and immediately found two dresses she liked
at Chanel.
   ``After I discovered how comfortable it is to have dresses made
for you _ everything fits _ I couldn't go back to a compromise.
   ``After I got a taste of it, I went to Dior. I prefer Dior, much
more simple. I have shoes made in different colors like the dress,
always the same style.''
   For her performances with the trio, Dior designers fashioned a
woman's tuxedo. ``I want to look as my partners look,'' she says.
``I needed different sleeves and a lot of volume in the back of the
jacket. We worked on that outfit for days.
   ``It's comfortable but you can't compare it to the liberty you
have in a dress. And it's so hot.''
</TEXT>
<NOTE>END ADV</NOTE>
</DOC>

Qid: 350	Rank: 25	Score: 11.739583
<DOC>
<DOCNO> LA112290-0160 </DOCNO>
<DOCID> 311873 </DOCID>
<DATE>
<P>
November 22, 1990, Thursday, Home Edition 
</P>
</DATE>
<SECTION>
<P>
Part A; Page 46; Column 2; Metro Desk 
</P>
</SECTION>
<LENGTH>
<P>
225 words 
</P>
</LENGTH>
<HEADLINE>
<P>
DAVID LLOYD KREEGER; INSURANCE EXECUTIVE, ARTS PATRON 
</P>
</HEADLINE>
<TEXT>
<P>
David Lloyd Kreeger, 81, former chairman of the Government Employees Insurance 
Co. (Geico) and longtime patron of the arts. A New York native who attended 
Rutgers University and Harvard Law School, Kreeger was a private attorney, with 
Geico as a client, when he formed a group to buy shares in the insurer in 1948. 
</P>
<P>
In 1957, Kreeger gave up his law practice to become a Geico vice president. He 
was chairman and chief executive of the company from 1970 until his retirement 
in 1974. Kreeger served as president of the National Symphony Orchestra in 
Washington from 1970 to 1978 and gave his name to three buildings there 
financed with the help of his donations at area cultural institutions -- the 
Kreeger Theater at Arena Stage, the Kreeger Music Building at American 
University and the Kreeger Auditorium at the Corcoran Gallery of Art. He served 
as president and chairman of the Corcoran for 20 years. His art collection 
contained works of the most famous artists of the 19th and 20th centuries, 
including Degas, Renoir, Van Gogh, Picasso and Kadinsky, but he cared most 
about music. Kreeger was an amateur violinist and owned a Stradivarius, which 
he sometimes played in concerts at his home in the company of such musical 
luminaries as Leonard Bernstein, violinist Isaac Stern and cellist Pablo 
Casals. In Washington on Sunday of cancer. 
</P>
</TEXT>
<TYPE>
<P>
Obituary 
</P>
</TYPE>
</DOC>

Qid: 350	Rank: 26	Score: 11.641127
<DOC>
<DOCNO> AP880623-0008 </DOCNO>
<FILEID>AP-NR-06-23-88 0154EST</FILEID>
<FIRST>r i PM-Million-DollarCello     06-23 0307</FIRST>
<SECOND>PM-Million-Dollar Cello,0316</SECOND>
<HEAD>World Record $1.2 Million Paid For Stradivari Cello</HEAD>
<DATELINE>LONDON (AP) </DATELINE>
<TEXT>
   An anonymous bidder paid $1.2 million for a cello
made by Antonio Stradivari about 1698 _ a world record auction
price for a musical instrument, the Sotheby's auction house said.
   The cello, known as the Cholmondeley after a previous owner, was
auctioned Wednesday and the seller also asked to remain anonymous.
   The previous record for a musical instrument was $890,000 paid
by an anonymous South American in London on March 31 for a violin
known as the Marie Hall that was also made by Stradivari, an
Italian.
   The previous record for a cello was $393,000 paid in 1984 by
Robert Cohen, an eminent London cellist, for a Stradivari
instrument known as the Bonjour.
   Sotheby's said several people were bidding for the Cholmondeley
``in a relaxed way.'' They said they were not surprised by the
price as they had expected the cello to sell for at least $1
million.
   They said the buyer might decide at some time to disclose his or
her identity.
   British cellist Julian Lloyd Webber, younger brother of composer
Andrew Lloyd Webber, spent $280,000 in 1986 on a Stradivari cello
and was not immediately identified as the purchaser.
   ``The Cholmondeley (pronounced Chumley) is so well made that it
almost plays itself _ as if it had cruise control,'' said Adam
Watson, the cataloguer of Wednesday's auction.
   The cello has a head by a different maker, Joannnes Florenus
Guidantus. The instrument is just over 29 inches long and rich
golden-brown in color.
   It belonged in the mid-19th century to the Marquess of
Cholmondeley. It later went to the United States and was played at
the Stradivari memorial concert in 1937 by Ralph Oxman.
   ``It is a well-known instrument and has been in the hands of
several collectors recently,'' said Watson.
</TEXT>
</DOC>

Qid: 350	Rank: 27	Score: 11.174636
<DOC>
<DOCNO>
WSJ910508-0012
</DOCNO>
<DOCID>
910508-0012.
</DOCID>
<HL>
   Guitar-Pickers Are Making a Market
   ---
   Rock of Ages Spurs
   Old-Model Prices
   ----
   By Robert Tomsho
   Staff Reporter of The Wall Street Journal
</HL>
<DATE>
05/08/91
</DATE>
<SO>
WALL STREET JOURNAL (J), PAGE C1
</SO>
<MS>
CONSUMER CYCLICAL (CYC)
FINANCIAL (FIN)
</MS>
<IN>
ENTERTAINMENT AND LEISURE (ENT)
DIVERSIFIED FINANCIAL SERVICES, CREDIT INSTITUTIONS (FIS)
RECREATION, ENTERTAINMENT, TOYS, MOVIES, PHOTOGRAPHY, SPORTS (REC)
</IN>
<RE>
CALIFORNIA (CA)
TENNESSEE (TN)
</RE>
<LP>
   DALLAS -- Visitors to the Mandolin Brothers' booth at the
recent Greater Southwest Guitar Show found an eye-popping
price tag hanging from one instrument. "OK, so it's
$100,000," read a sign the Staten Island, N.Y., dealer had
placed nearby. "Go find another one."
   That would be hard to do. The rare 1958 Gibson "Flying V"
was one of only 81 shipped the year it was built. Amid a
recession that has driven down prices for Impressionist
paintings and folk art as well as many collectibles, vintage
guitars are hot -- especially those used by vintage rock 'n'
roll stars.
</LP>
<TEXT>
   At a London auction last year, Sotheby's Holdings Inc.
sold a 1968 Fender Stratocaster used at Woodstock by Jimi
Hendrix for $334,000 -- nearly four times the expected price.
And actor Gary Busey, who portrayed Buddy Holly in a movie,
recently paid $242,000 at a Sotheby's auction in this country
for a 1945 Gibson J-45 acoustic once owned by the late
rocker.
   In 1989, an unidentified buyer even paid $1,300 for a
fragment of a guitar smashed by rock guitarist Pete Townshend
of the Who. "The guitar market has gone berserk," says
Nashville guitar dealer George Gruhn, also a columnist for
Guitar Player magazine.
   Some industry publications have begun tracking prices
monthly, and major manufacturers such as Gibson Guitar Corp.
of Nashville and Fender Musical Instruments Corp. of Brea,
Calif., are building high-priced "reissues" of their own
classics. Gibson's 1959 Les Paul reissues, named for the
legendary guitarist who originally designed the model, sell
for as much as $4,199, compared with about $1,699 for a
similar new model.
   The original pre-1960 Gibson Les Paul models regularly
sell for more than $20,000. And rare prewar Martin D-45
acoustics are going for as much as $50,000 -- nearly
quintuple the top price of just five years ago. Still, these
prices don't come near the cost of a Stradivarius; one of the
violins sold for $1.7 million in London last November.
   The vintage guitar boom is being spurred on, in part, by
aging baby boomers seeking to recapture a piece of their
past. "We've got money to spend, and guitars, banjos and
fretted instruments are the instruments of our youth," says
Kerry Keane, a musical instrument appraiser for Skinner Inc.,
an auction house based in Bolton, Mass.
   As with most collecting fads, though, fortune hunters
should beware. Like cars, most used guitars still sell for
far less than they cost new, and dealers -- who pay top
dollar only for mint-condition guitars -- complain that many
would-be sellers expect any battered instruments they drag in
to be worth a small fortune.
   Moreover, with prices skyrocketing, guitar counterfeiters
are altering serial numbers and name plates, modifying
cheaper models, and even making pseudovintage instruments
from scratch. Some dealers now dismantle instruments before
buying to check for original paint, wiring and hardware.
"There is no such thing as a perfect forgery," says Mandolin
Brothers President Stanley Jay.
   As in so many other collecting areas, prices of vintage
guitars are being driven up by free-spending foreign
collectors and dealers. Many of them are Japanese, who prize
the American-made instruments for their tone, craftsmanship
and continuing status as the choice of most international
recording artists.
   Many U.S. guitar dealers send their inventory lists
directly to foreign collectors and dealers, despite grumbling
from some musicians and dealers about the number of vintage
instruments leaving this country. While industry figures are
hard to come by in a largely cash-and-carry business, some
dealers say foreign buyers account for as much as 75% of
their vintage sales.
   Overseas buyers have even hired U.S. "brokers" to scour
pawnshops and newspaper want ads. "They're out in the
heartland looking for these guitars," says Mark Pollack, of
Charley's Guitar Shop here.
   High-bidding Japanese buyers have become fixtures at the
growing number of guitar shows, which is why Mr. Pollack made
sure he had a Japanese-speaking employee in his booth at the
recent Dallas show, the largest of its kind. Japanese
investors have been known to buy instruments by the truckload
for shipment back to their country, where even mass-produced
workhorses like 1970s-vintage Fender Stratocasters are
selling for as much as $2,500 -- nearly three times the U.S.
price.
   "Mostly, it's the sound," says collector Mac Yasuda of
Newport Beach, Calif., an executive with Tsumura &amp; Co., a
large Tokyo-based manufacturer of pharmaceuticals and bath
additives. With the help of a toll-free U.S. telephone
number, Mr. Yasuda buys instruments for both himself and
company President Akira Tsumura, who recently opened a Tokyo
museum to display his huge collection. Mr. Yasuda's own
collection includes 50 Gibson J-200 acoustic guitars, 15
vintage Gibson Les Pauls, and seven out of the 91 D-45
acoustics made by C.F. Martin Co. of Nazareth, Pa., before
World War II.
   A variety of factors make some guitars worth more than
others. Rarities such as the prewar D-45s -- first made for
cowboy crooner Gene Autry -- and the elegant jazz guitars
handmade by the late John D'Angelico have long been prized
for their tone and craftsmanship.
   Collectors seek out certain early Les Paul models because
of the "flame" patterns in the curly maple wood used to make
them. And the Fender Stratocasters' mystique is due largely
to their use by rock stars such as Jimi Hendrix and Eric
Clapton.
   Meanwhile, a small but growing nostalgia market has
developed for some instruments that never had much snob
appeal. Dealers say baby boomers, apparently recalling the
first budget-priced instruments that their parents bought
them, are paying as much as $1,000 for Danelectro electric
guitars once sold in Sears, Roebuck &amp; Co. catalogs for $59
and up.
   Dominick Montuoro, a disabled New Rochelle, N.Y.,
construction worker, began collecting them after playing one
that belonged to a friend's son. "I just fell in love with
it," says Mr. Montuoro, who now has 90 of the homely
instruments, which feature Masonite tops with pickups, a
piece of electronic hardware, made from modified lipstick
tubes.
   With prices for many vintage guitars rising and falling on
such quirky factors as which model certain rockers used on
their last tour, appraisers caution that vintage guitars are
not for investors seeking huge profits. "For the most part,
it's a slow, steady increase," says Mr. Keane, the instrument
appraiser.
   Moreover, veteran dealers like Mr. Gruhn of Nashville warn
that prices could plummet if economic troubles beset Europe
or Japan. "If anything happens to reduce foreign demand, this
market will react as though it were struck in the solar
plexis," he says.
   Some professional musicians wouldn't mind seeing that
happen. "It's outrageous," says Warner Brothers recording
artist Ry Cooder, who attended one guitar show a few years
ago, but "crawled out" when he saw the prices. To musicians,
a guitar is a tool, says Mr. Cooder, adding that "a carpenter
wouldn't pay $100 for a hammer."
</TEXT>
</DOC>

Qid: 350	Rank: 28	Score: 10.946021
<DOC>
<DOCNO> WSJ880317-0110 </DOCNO>
<HL> LEISURE &amp; ARTS: TV Preview: Lincoln, Darrow, Dickens, Rumpole </HL>
<AUTHOR> Martha Bayles </AUTHOR>
<SO> </SO>
<TEXT>
   Thursday, March 17, 8-9 p.m. EST, on PBS (PBS dates and times vary, especially during this "Festival," or pledge-drive period, so check local listings): "Stradivarius on Stage." 
Great musicians and rare instruments come together for a tribute to Antonio Stradivari, the 17th-century master craftsman whose violins and cellos still inspire awe. 

   Thursday, March 17, 9-10 p.m. EST, on A&amp;E (repeated at 1 a.m. and on Mar. 20): "Galway and the Chieftains in Belfast." 
Instead of chugging lime-green beer, celebrate St. Patrick's Day by listening to James Galway's brilliant flute and the authentic sounds of Ireland's best-known traditional band. 

   Thursdays, March 17-April 21, 9-10 p.m. EST, on PBS: "Rumpole of the Bailey." 
Due to popular demand, "Mystery!" is bringing back Leo McKern for another round of gruff, eccentric litigation in London's Old Bailey. 

   Sunday, March 20, 7-8 p.m. EST, on Cinemax (repeated on March 22, 24 and 30): "Cinemax Sessions: A Reggae Session." 
If you've missed these excellent music specials, you're in luck this month. 
Along with this new one, featuring reggae stars Jimmy Cliff, Toots Hilbert and members of the late Bob Marley's family and band, Cinemax also is repeating all nine previous "Sessions." 

   Sunday, March 20, 9-11 p.m. EST, on NBC: "Inherit the Wind." 
A new TV version of the famous play about the 1925 Scopes trial stars Jason Robards as the Clarence Darrow character and Kirk Douglas as the William Jennings Bryan character. 
Tune in and judge for yourself whether this AT&amp;T-sponsored production has monkeyed around with the original. 

   Sunday, March 20, 9-11 p.m.; Monday, March 21, 8:05-11:05 p.m.; and Tuesday, March 22, 8:05-10:05 p.m. (all times EST); on SuperStation TBS (repeated March 29-31 and April 10, 17 and 24): "Portrait of the Soviet Union." 
From Ted Turner and Britain's Antelope Films come seven hours of free travel from Chernobyl to Tbilisi to Lake Baikal, stunningly photographed but ineptly narrated. 
More in Monday's column. 

   Saturday, March 26, 4-6 p.m. and Sunday, March 27, 2-6 p.m. EST, on NBC: The Players Championship. 
After several years of appearing on CBS, this super-duper golf tournament has passed into the capable hands of NBC Sports. 
From Sawgrass in Ponte Verde, Fla., Sandy Lyle will defend his trophy. 

   Saturday, March 26, 8-9:45 p.m. EST, on HBO (repeated on April 3, 6, 9 and 15): "The Tracker." 
After a couple of disastrous recent roles (including in ABC's "Amerika"), Kris Kristofferson is perfect as a retired Indian tracker pressed into service by his old friend the marshal (David Huddleston) to chase a murdering, kidnapping religious fanatic across the spectacular landscape of Arizona and New Mexico. 
Along for the ride is the tracker's Eastern-educated son (Mark Moses), who scorns, but then adopts, his father's stern frontier code. 
Don't miss this handsome, no-nonsense, no-spaghetti western. 

   Sunday and Monday, March 27 and 28, 9-11 p.m. EST, on NBC: "Gore Vidal's Lincoln." 
No, this title doesn't refer to an automobile belonging to Mr. Vidal; it is television's way of identifying author and best seller in the same breath. 
Sam Waterston stars as Abraham Lincoln, who's trying simultaneously to preserve the Union and his marriage to Mary Todd Lincoln (Mary Tyler Moore). 

   Sunday, March 27, 9-11 p.m. EST, on CBS: "Too Young the Hero." 
The average age of American soldiers in World War II was 26, yet there were some youngsters fighting. 
Calvin Graham, for example, enlisted in the Navy at 12 and became a hero nominated for the Bronze Star, only to be tossed into the brig for lying about his age. 
The real Mr. Graham visited the production on location aboard the USS North Carolina and pronounced it accurate. 

   Sundays, March 27-April 24, 9-10 p.m. EST, on PBS: "David Copperfield." 
When Charles Dickens was 12, his parents sent him to work in a shoe-polish factory. 
Out of that experience came his much-adapted autobiographical novel about growing up in the rigid class system of Victorian England, here adapted one more time for "Masterpiece Theatre." 

   Tuesday, March 29, 9-10 p.m. EST, on PBS: "Back in the U.S.S.R." 
Former Time magazine correspondent Jerry Schecter returns to Moscow after 20 years, to size up glasnost for himself. 
More in Monday's column. 

</TEXT>
</DOC>

Qid: 350	Rank: 29	Score: 10.791847
<DOC>
<DOCNO> AP890615-0107 </DOCNO>
<FILEID>AP-NR-06-15-89 1252EST</FILEID>
<FIRST>r a AM-People     06-15 0980</FIRST>
<SECOND>AM-People,1020</SECOND>
<HEAD>People in the News</HEAD>
<HEAD>LaserPhoto NY44</HEAD>
<DATELINE>LONDON (AP) </DATELINE>
<TEXT>
   Actor-director Sam Wanamaker celebrated his 70th
birthday at a ground-breaking ceremony for a replica of William
Shakespeare's Globe Theater.
   After 20 years of planning and fund-raising, Wanamaker signed a
$30 million contract with a construction company to build his
project close to the theater's original site on the south bank of
the River Thames.
   ``This is the second most important day of my life,'' the
American-born Wanamaker said at the ceremony Wednesday.
   The most important day, he said, will be April 23, 1992, the
scheduled completion date for his project, to be called the
International Shakespeare Globe Center. April 23 is Shakespeare's
birthday.
   The complex will be a center for Shakespeare studies and will
house two theaters, one of them a replica of the Globe, where
Shakespeare's plays were performed in the bard's lifetime. It will
also include an exhibition area, offices, restaurant, apartments and
shops.
   The original Globe Theater was built in 1599 and burned down in
1613. It was rebuilt, but was finally demolished in 1644.
Wanamaker's complex is believed to be a few hundred yards from the
original site. Archaeologists are working to locate the exact site.
   Nearby are the recently excavated foundations of the Rose
Theater, the only relic of a theater of Shakespeare's day to have
been found.
</TEXT>
<DATELINE>GLENS FALLS, N.Y. (AP) </DATELINE>
<TEXT>
   Who's back, and which concert tickets
are gone?
   Within an hour and a half, some 5,000 tickets were sold Wednesday
at the Glens Falls Civic Center for the opening concert of the Who's
reunion tour this summer, their first performance in six years.
   Heavy rains may have soaked those in line but it did not dampen
their enthusiasm.
   ``I dropped my kid off and came flying,'' said Carol Alden of
South Glens Falls, who'd gotten the news of ticket sales from a
friend.
   The British band opens its 36-date summer stadium tour June 21 in
the 8,200-seat Glens Falls Civic Center on the edge of the
Adirondack Mountains in upstate New York.
   A last-minute decision to make fewer tickets available, including
eliminating standing-room tickets, helped speed sales, event
organizers said.
   The band's stage was ``so humongous,'' the center needed the
extra space, said Event Coordinator Jeff Barrett.
   Joe Patterson, 24, of Utica was first in line and forked over
$100 for four front-row seats, then pumped a clenched fist in the
air to the cheers of the crowd.
   ``This,'' he said, ``is awesome.''
</TEXT>
<DATELINE>LONDON (AP) </DATELINE>
<TEXT>
   Cellist Julian Lloyd Webber sold a 200-year-old
cello at auction Thursday for nearly $125,000 to help pay for his
divorce settlement.
   The cello, made by Guiseppe Guadagnini in 1791, was purchased by
a private German buyer, said a spokeswoman for Sotheby's auction
house. But don't worry, Lloyd Webber still has a Stradivarius cello.
   The younger brother of megamusical composer Andrew Lloyd Webber
said recently that he was selling the cello to help pay for his
divorce settlement. He and his wife, Celia, got a divorce in April
after a 15-year marriage.
   Lloyd Webber used the cello in many live performances and
recordings. He was once quoted as saying: ``The relationship between
me and my cello is like a marriage. Nothing, and I mean nothing,
comes between us.''
   The Sotheby's spokeswoman said the auction house was ``very
pleased'' with the price, which outstripped the pre-sale estimate.
She said Lloyd Webber's Stradivarius cello is worth at least twice
the price of the Guadagnini.
   ``Of course he is nostalgic about his cello but I think he feels
it is a shame to have such a nice instrument unused,'' she said.
</TEXT>
<DATELINE>LOS ANGELES (AP) </DATELINE>
<TEXT>
   Lee Iacocca told television executives to
start censoring their shows, or advertisers, including his own
Chrysler Corp., may pull out their commercials.
   The Chrysler chairman said Tuesday that viewers are tired of
trash TV and are venting their rage on the big advertisers with
angry letters and boycotts.
   ``I don't want to be the censor; I want you to do it,'' he said
in an address to the Hollywood Radio &amp; Television Society.
   Iacocca warned that companies such as Chrysler, which spends $250
million a year on television, could withdraw advertising from
objectionable programming if steps are not taken to tone down the
``bedroom bingo'' and violence.
   ``Help get me and every other sponsor out of the censorship
business,'' he said. ``We don't want the job.''
   He agreed that some complaining viewers are ``fanatics,'' but
said most are not. ``Don't write them off as a fringe group,'' he
said. ``They've found out they have clout and they're going to use
it.''
   A number of advertisers have reacted to consuer complaints since
a Michigan woman earlier this year got some advertisers to cancel
spots in Fox Broadcasting Co.'s ``Married ... With Children.''
</TEXT>
<DATELINE>NEW YORK (AP) </DATELINE>
<TEXT>
   Kris Kristofferson wrote a song in Abbie
Hoffman's honor, and director John Avildsen of ``Rocky'' fame
created a video of the late political activist's life.
   Both works will be part of a memorial tribute planned for
Saturday in New York City. Among the expected guests are Norman
Mailer, Allen Ginsberg, Amy Carter, Buster Poindexter, Daniel
Ellsberg, Paul Krassner, Wavy Gravy and surviving members of the
Chicago Seven. Hoffman's three children are also expected.
   ``A man who led such an extraordinary life will be commemorated
by just a few of the thousands who knew, admired and loved him,''
said Abby Hirsch, one of the organizers of the event.
   Hoffman, 52, committed suicide April 12 at his New Hope, Pa.,
home with an overdose of phenobarbital.
   The memorial, ``No Regrets: A Tribute to Abbie Hoffman,'' takes
its title from Hoffman's final public speech, given to students at
Vanderbilt University about his political and social activism.
   He ended that speech by saying, ``I regret nothing.''
   Other memorials have also been held in Massachusetts,
Pennsylvania and Los Angeles.
</TEXT>
</DOC>

Qid: 350	Rank: 30	Score: 10.749451
<DOC>
<DOCNO> AP900119-0123 </DOCNO>
<FILEID>AP-NR-01-19-90 1532EST</FILEID>
<FIRST>r a AM-AntiquesRecovered     01-19 0259</FIRST>
<SECOND>AM-Antiques Recovered,0266</SECOND>
<HEAD>Sword, Rare Violins Among Stolen Antiques Found</HEAD>
<DATELINE>SAVANNAH, Ga. (AP) </DATELINE>
<TEXT>
   Investigators say they have recovered more
than $500,000 in stolen antiques _ including two centuries-old
violins and a sword reportedly used by Civil War General William T.
Sherman.
   The merchandise, which also included books, coin collections,
toy cars and guns, was found Thursday in a storage locker.
   ``We're saying half-a-million dollars right now, but that's
probably a very conservative estimate,'' said Dennis Palmentera, an
investigator with the Ohio Organized Crime Investigation Commission.
   Police have arrested 29 people since a grand jury in Columbus,
Ohio, returned secret indictments Jan. 2 in connection with an
Ohio-based burglary ring, but no arrests have been made involving
the Savannah cache.
   Investigators say the ring has operated for 20 years and is
blamed for more than $1.8 million in thefts over five years.
   ``The ring had fingered out from Ohio,'' said Harold Crabtree,
also an investigator with the Ohio task force. ``It spread from
Ohio to Florida and was in every state in between.''
   The Sherman-related items, which included a portrait of the
Union general, were stolen from Sherman's birthplace museum in
Lancaster, Ohio, investigators said.
   The violins were believed made by Antonio Stradivari, the famous
Italian craftsman.
   Palmentera said investigators believe the antiques stashed in
Savannah were destined for a major antiques show in Norcross.
   ``They store it for six months or a year until it cools off,
then they'd sell it,'' Palmentera said. ``They sell it in the major
shows because this stuff is hard to track.''
</TEXT>
</DOC>

Qid: 350	Rank: 31	Score: 10.403755
<DOC>
<DOCNO>
WSJ910802-0163
</DOCNO>
<DOCID>
910802-0163.
</DOCID>
<HL>
   Pepper...and Salt
</HL>
<DATE>
08/02/91
</DATE>
<SO>
WALL STREET JOURNAL (J), PAGE A9
</SO>
<LP>
   First Violin
                                                                                                       

</LP>
<TEXT>
   ("A 1709 Stradivarius was sold in London for $889,000." --
News note)
                                                                                                       

   Nearly $900 thousand paid outright --
   A record that's unmatched.
   (High price for a fiddle, in view of the fact
   That there were no strings attached])
   -- George O. Ludcke.
   ---
   What's the Difference?
                                                                                                       

   To clean up by sending our trash abroad,
   Makes perfect sense to me;
   For some countries accept our toxic waste --
   And others, our films and TV.
   -- Edward F. Dempsey.
</TEXT>
</DOC>

Qid: 350	Rank: 32	Score: 10.354830
<DOC>
<DOCNO> LA101890-0134 </DOCNO>
<DOCID> 294133 </DOCID>
<DATE>
<P>
October 18, 1990, Thursday, Home Edition 
</P>
</DATE>
<SECTION>
<P>
Glendale; Part J; Page 1; Column 2 
</P>
</SECTION>
<LENGTH>
<P>
675 words 
</P>
</LENGTH>
<HEADLINE>
<P>
HOSPITAL THRIFT SHOP IS NEXT TO NONE; 
</P>
<P>
BIRTHDAYS: NEXT-TO-NEW AND ITS VOLUNTEER STAFF CELEBRATE 30 YEARS OF BARGAINS. 
THE STORE HAS GENERATED ABOUT $1 MILLION FOR GLENDALE MEMORIAL. 
</P>
</HEADLINE>
<BYLINE>
<P>
By MONICA RODRIGUEZ, TIMES STAFF WRITER 
</P>
</BYLINE>
<TEXT>
<P>
Thrift shops have always been known for having unusual merchandise at low 
prices, but this month, the Next-to-New Shop in Glendale is adding a new 
feature to its lore: longevity. 
</P>
<P>
The shop at 210 E. Broadway is turning 30. It was opened in 1960 by the 
Glendale Memorial Hospital Guild of Volunteers to generate income for hospital 
projects. In its 30 years, the shop has contributed about $1 million to the 
hospital, spokesman Bryan Bishop said. Last year, the store made about $38,000. 
</P>
<P>
Next-to-New has been managed over the years by many volunteers, most of them 
women. But today, it is the domain of Alex Arszno, serving his second one-year 
term as chairman. 
</P>
<P>
Arszno, 76, is a Glendale resident and lives just a few blocks from the shop. 
He comes in every morning before it opens to arrange the merchandise and tidy 
up, he said. 
</P>
<P>
He only works Saturdays but drops in every afternoon just to make sure all is 
going smoothly. Even on Sundays, when the shop is closed, Arszno comes in to 
check the inventory. 
</P>
<P>
The store sells clothing, shoes, appliances, costume jewelry and an assortment 
of knickknacks. Clothing is its biggest seller, but it has had its share of 
unusual items such as antiques and musical instruments, said Ila May Nyquist, a 
charter member of the guild. 
</P>
<P>
Nyquist has been with the shop since it opened and said that among the objects 
that have come through the store and brought in the most money are musical 
instruments. 
</P>
<P>
"Once we had a violin. It wasn't a Stradivarius, but we got quite a bit of 
money for it," she said. 
</P>
<P>
Recently, Arszno donated a Yugoslavian accordion, which he had kept since 
immigrating from Germany, where he was a prisoner during World War II. It went 
on sale for $75. 
</P>
<P>
"It stayed in my closet for a long time," he said. "I never play, so I gave it 
away." 
</P>
<P>
Occasionally, customers come from film studios and theater costume shops 
looking for older or unusual clothing to be used in their productions. 
</P>
<P>
More common are those who need to stretch their dollars. 
</P>
<P>
"We get young people that want to furnish an apartment," volunteer Dorothy 
Baillie said. "Fifty dollars buys lots of stuff here." 
</P>
<P>
Arszno said he occasionally lowers prices for those who cannot afford what they 
want. Everyone wins, he said, because the customer can take the merchandise, 
and the store has made a sale. 
</P>
<P>
Arszno exhorts the other volunteers, who number more than 30 and are mostly 
senior citizens, to enjoy their work as much as he does. 
</P>
<P>
"I say, 'Be happy. It is our last job. We go from here to Forest Lawn,' " 
Arszno said with a laugh. 
</P>
<P>
When he retired after 27 years of working, most recently in shipping and 
receiving, Arszno took ceramics classes but found he wanted more activity. 
</P>
<P>
"I went to the hospital, and they say, 'Alex, we can keep you here,' " he said. 
</P>
<P>
He became a volunteer with the guild in 1980, and they sent him to the thrift 
shop, where he has been ever since. 
</P>
<P>
Over the years, Arszno has had to deal with shoplifters on occasion and has 
caught a few red-handed. But he handles problems with a sense of humor. 
</P>
<P>
Once he caught a young man trying to take a pair of pants by putting them over 
his own pants, Arszno said. 
</P>
<P>
"I said, 'Next time you wear bigger pants and then put the others under yours,' 
" he said with a laugh. 
</P>
<P>
Arszno credits simple friendliness with the store's success. 
</P>
<P>
"When you like people, they notice. The face shows when you like them," he 
said. 
</P>
<P>
In recent years, the hospital has used the proceeds from the Next-to-New Shop 
for improvements such as the purchase of a $90,000 mammography machine, 
spokesman Bishop said. 
</P>
<P>
Last year's contribution went into the hospital's new Heart and Emergency 
Center, which is currently under construction, Bishop said. The guild has 
pledged to contribute $1 million over the next five years for the new facility. 
</P>
<P>
As part of the shop's 30th anniversary, the shop will have an open house today 
from 10 a.m. to 4 p.m. and a reunion of past presidents of the guild. 
</P>
<P>
The Next-to-New Shop is open Monday through Saturday from 10 a.m. to 4 p.m. 
</P>
</TEXT>
<GRAPHIC>
<P>
Photo, Chairman Alex Arszno, second from left, heads staff of volunteers in 
operating shop. His advice to workers, "Be happy." RICARDO DeARATANHA / Los 
Angeles Times; Photo, The Next-to-New Shop, 210 E. Broadway, will host an open 
house today. 
</P>
</GRAPHIC>
</DOC>

Qid: 350	Rank: 33	Score: 10.222193
<DOC>
<DOCNO> LA040590-0230 </DOCNO>
<DOCID> 200372 </DOCID>
<DATE>
<P>
April 5, 1990, Thursday, P.M. Final 
</P>
</DATE>
<SECTION>
<P>
Business; Part P; Page 3; Column 1; Late Final Desk 
</P>
</SECTION>
<LENGTH>
<P>
130 words 
</P>
</LENGTH>
<HEADLINE>
<P>
P.M. BRIEFING; 
</P>
<P>
TOBACCO PITCH ABROAD DRAWS FIRE 
</P>
</HEADLINE>
<BYLINE>
<P>
From Times wire services 
</P>
</BYLINE>
<DATELINE>
<P>
PERTH, Australia 
</P>
</DATELINE>
<TEXT>
<P>
Major American tobacco companies are manipulating trade laws and pressuring 
U.S. trade agencies in developing countries to ensure that markets for their 
products remain open, a top U.S. health official said today. 
</P>
<P>
"They play our free trade laws and export policies like a Stradivarius violin, 
pressuring our trade promotion agencies to keep open -- even force open in some 
cases -- other nations' markets for their products," said James Mason, 
assistant secretary for health in the Department of Health and Human Services. 
</P>
<P>
"I've been appalled over the cynical marketing techniques of the tobacco 
companies," Mason said at the closing session of the Seventh World Conference 
on Tobacco and Health, organized by the U.N. World Health Organization and 
anti-smoking groups. 
</P>
</TEXT>
<TYPE>
<P>
Brief; Wire 
</P>
</TYPE>
</DOC>

Qid: 350	Rank: 34	Score: 10.200697
<DOC>
<DOCNO> AP900617-0045 </DOCNO>
<FILEID>AP-NR-06-17-90 1832EDT</FILEID>
<FIRST>r i AM-BRF--Japan-Violins     06-17 0131</FIRST>
<SECOND>AM-BRF--Japan-Violins,0134</SECOND>
<HEAD>Two Valuable Italian Violins Stolen at Tokyo University</HEAD>
<DATELINE>TOKYO (AP) </DATELINE>
<TEXT>
   Two Italian violins, together worth more than
$130,000, were stolen from practice rooms of a university during
the past two weeks, police said Sunday.
   Police said they suspected people associated with the university
committed the separate thefts at the Tokyo National University Of
Fine Arts and Music.
   A police spokesman said a student left her $26,600 violin on a
table in a practice room Friday, and instrument was gone when she
returned 90 minutes later.
   Another student left her $106,400 violin in a practice room on
June 5 for a five-minute trip to the bathroom but found it gone
upon her return, police said. Her violin was crafted by Joannes
Gagliano of Italy in 1803, police said.
</TEXT>
</DOC>

Qid: 350	Rank: 35	Score: 10.127153
<DOC>
<DOCNO> WSJ870223-0146 </DOCNO>
<HL> LEISURE &amp; ARTS:
Feting Slava and His 'Wooden Wife'
---
By Heidi Waleson</HL>
<DD> 02/23/87</DD>
<SO> WALL STREET JOURNAL (J)</SO>
<DATELINE> NEW YORK  </DATELINE>
<TEXT>
   Up close and personal, Mstislav Rostropovich seems a little shy and frail, wisps of white hair clinging to his head as he walks slowly, almost timidly, onto the Carnegie Hall stage to conduct the National Symphony in a brief rehearsal before the 8 p.m. concert. 

   He looks closer to 70, but March 27 is his 60th birthday, and his management has organized a marathon birthday celebration for him here: 18 concerts between Feb. 6 and March 24, including 10 different programs, 15 cello concertos, two solo recitals of Bach suites and three programs for which he is conductor, including the War Requiem of Benjamin Britten with the New York Philharmonic and his wife, soprano Galina Vishnevskaya, as one of the soloists. 

   All this will be capped by a gala at the Kennedy Center in Washington on the birthday itself. 
Among the onstage revellers: Leonard Bernstein, Jean-Pierre Rampal, Isaac Stern, Yehudi Menuhin. 

   One of the effects of all this mellifluous frenzy will be to allay any suspicions that "Slava" Rostropovich, one of the world's most celebrated cellists, is thinking about giving up his instrument for conducting, now that he has been music director of the National Symphony for 10 years, and is recording operas. 
Forget it. 
The "wooden wife," as he calls his Stradivarius, is not about to become a silent partner. 

   Cellist, pianist, conductor Rostropovich says that he is a "musician" first. 
He talks fast, starting off in English, then falling into Russian, then back again. 
Is he a cellist by accident? 
"I am a human being by accident! 
The result of love between my mother and father! 
My father gave me a cello and said 'Play.' 
If he had given me a violin, I probably would have tried to play the violin. 
But I'm happy I play the cello. 
I love the instrument very much." 

   The first pair of concerts, with the National Symphony, had Mr. Rostropovich conducting the first evening and playing three cello concertos the next. 
Hugh Wolf, his conducting protege and now music director of the New Jersey Symphony, did the conducting honors on the second night. 
It was a mix of the familiar and the unfamiliar, as are most of the rest of these programs: the war horse Schumann Cello Concerto in A minor, with its hazardous pianissimo balances between cello and orchestra; Bloch's schmaltzy Schelomo, which gave Mr. Rostropovich the opportunity to emote in long lines and to emit powerful, growling low notes. 

   Both orchestra and soloist sounded tentative in the beginning of the Schumann; more expansive by its slow middle movement. 
Still, for the first half of the program Mr. Rostropovich seemed to be on automatic pilot. 

   Not so for the second half, Henri Dutilleux's "Tout un Monde Lointain." 
This imagistic, very French score took off with Mr. Rostropovich showing off all the cello's incarnations: the very high register, the double stops, the long singing notes. 
And the orchestra went from the mysterious eccentricities of the opening to the colors dissolving into cacophony at the end. 
It was a thrill, and everyone in the audience felt it. 
Mr. Rostropovich practically dragged the composer up onto the stage for a bow. 

   Let that be a lesson to the orchestra managers who insist on the standard repertoire when they engage Mr. Rostropovich -- and that's most of them. 
He won't admit that he's bored with the standard cello rep -- Dvorak, Strauss, Tchaikovsky -- but it sure sounds like it. 
"When orchestras invite for the Dvorak concerto, the concert hall is immediately sold out. 
Also some conductors like, in rehearsal, to spend time on the symphony, not the accompaniment for cello. 
Dvorak is much easier than a new piece." 

   Mr. Rostropovich has their number, however. 
"I'm going to make a new condition. 
When I go to play, I will play one new piece and one classical." 
Will the orchestras agree? 
"I don't know. 
But I have many engagements, so I have choices." 

   For his own party, however, Mr. Rostropovich has decided what the music is going to be, and maybe all those orchestra managers should come and check it out. 
The cello concertos include the Penderecki No. 2 (1982), the Lutoslawski (1970) and the Dutilleux (1970), all of which were dedicated to him, and which he has never before played in New York. (The latter two can be heard on Angel S-37146; Mr. Rostropovich has recorded most of the standard repertoire for cello, and a fair amount of Russian symphonic music -- as a conductor, too.) 

   There are works by his friends Prokofiev, Shostakovich and Britten, also dedicated to him. 
And there is "Three Meditations for Mass," arranged especially for Mr. Rostropovich by his friend Mr. Bernstein, who was instrumental in getting him out of the Soviet Union back in 1974. 
That was after the Soviet government had derailed the cellist's career, because of a letter he wrote in defense of Alexander Solzhenitsyn. 

   "They are pieces that are representative of different times in my life, " Mr. Rostropovich says. 

   Except for the Penderecki, he plans to play all the cello pieces from memory. 
"I have never worked as hard or as much on the cello as I have in this period. 
The Dutilleux is extremely difficult, and I didn't make any mistakes there!" he says proudly. 
"The Britten cello symphony I haven't played for 20 years, so it is like a new composition. 
And after 20 years, I see other sides of the piece." 

   And after 13 years in the West, Mr. Rostropovich has plenty of money, too, including a hefty income ($606,250 in 1984-85 for his labors for the debt-ridden National Symphony; and, reportedly, one of the world's higher soloist fees). 
He divides his engagements -- between 100 and 140 a year -- equally between cello playing and conducting. 
Ensconced at the orchestra in D.C. (although he actually lives in Paris and travels on a Swiss passport), he is a symbol of American moral superiority on the issue of human rights. 
Fortunately, he's also a pretty fair conductor, as his new recording of Tchaikovsky's opera "Yolanta" on Erato attests. 

   As for going back to visit the country that stripped him and his wife of their citizenship in 1978, he says he hasn't been officially invited, as some other Soviet emigre artists have, and isn't sure what he'd do if he were. 

   Perhaps Mr. Gorbachev doesn't want to interrupt the superb job Mr. Rostropovich is doing as an interpreter of Shostakovich to Western ears, both in music and in words. 
"Shostakovich," he says, jumping happily into a favorite topic, "is our contemporary composer; he is speaking about our life, all our emotion, stress, deep depression, emotional explosion; that's the music of Shostakovich. 
It's a mirror of us." 

   It definitely looks as if there will be more work for Mr. Rostropovich's wooden wife after the birthday fuss is over. 
The non-wooden wife, he says, "is not jealous." 

   ---
   Ms. Waleson is a New York free-lancer who writes frequently about music. 

</TEXT>
</DOC>

Qid: 350	Rank: 36	Score: 10.097229
<DOC>
<DOCNO> AP890213-0191 </DOCNO>
<FILEID>AP-NR-02-13-89 1409EST</FILEID>
<FIRST>s e BC-APN--Balalaika Adv26   02-13 1069</FIRST>
<SECOND>BC-APN--Balalaika, Adv 26,1115</SECOND>
<HEAD>$Adv26</HEAD>
<HEAD>AGENCIES AND RADIO OUT</HEAD>
<HEAD>For Release Sunday, Feb. 26</HEAD>
<HEAD>From AP Newsfeatures</HEAD>
<HEAD>(APN SUNDAY ILLUSTRATIONS: Mailed print subscribers get 1 b&amp;w photo.
ColorFoto subscribers get 1 35mm slide.)</HEAD>
<TEXT>
   
   EDITOR'S NOTE _ Once banned by the Russian czars, the balalaika
is the most beloved musical instrument in the Soviet Union. Now a
Soviet orchestra on a tour of 40 U.S. cities is introducing
Americans to the sound produced by an instrument which is something
like a guitar, but with some big differences.
</TEXT>
<TEXT>
</TEXT>
<NOTE>By MARY CAMPBELL</NOTE>
<NOTE>AP Newsfeatures Writer</NOTE>
<DATELINE>NEW YORK (AP) </DATELINE>
<TEXT>
   There may be some Scots who can't bear the
bagpipe, but it's a rare Russian who bad-mouths the balalaika.
   ``The balalaika is the instrument most close to the Russian
soul,'' says Sergei Lukin, one of the 82 members of the Osipov
Balalaika Orchestra, which is on a tour of 40 American cities
through March 9. ``It is very tender, very touching. It starts
singing in the hands of a real master.''
   What's a balalaika? Well, it's a stringed instrument somewhat
like a guiter, but is triangular shaped, usually has only three
strings, and comes in a variety of sizes.
   Americans may remember the sound from ``Lara's Theme,'' on the
sound track of the film ``Dr. Zhivago.''
   Lukin plays the domra, which looks like a round-bodied banjo, its
flat front the size of a dinner plate. Many balalaikas sound best,
apparently, mixed with complimentary instruments such as the domra.
   Lukin and other members of the Osipov, the Soviet Union's top
balalaika orchestra, were interviewed through an interpreter.
   ``We're doing all kinds of songs _ sad and merry. They all depict
the state of a soul,'' says Nikolai Kalinin, the orchestra's
conductor and artistic director.
   ``There are really rhythmic, energetic songs. You want to dance
when you hear them,'' adds singer Nadja Babkina, founder of the
Babkina Folk Ensemble, which is on tour with the orchestra.
   Miss Babkina, who wears her long hair dramatically forward over
one shoulder, says that in the 16th century, balalaika players were
dispersed and their instruments were burned because they were
thought to be diverting people's attention from the church.
   ``That's why a law was signed by our czar that all these groups
of amateur artists should be destroyed and the instruments also,''
she says. ``Russian people tried to hide these instruments. In the
18th century someone said it was time to renew them.''
   ``Why don't you ask how to play it?'' asks Alexander Gorbachev,
41, holding his wooden balalaika that was made in 1910 by a man
named Nalimov, the Stradivarius of balalaika makers.
   Then he demonstrates, drawing his right index finger across the
strings like a violin bow.
   ``It is such a strong finger, he can even open a bottle,'' says
Sergei Butushin, who plays an array of horns that he has made, some
with bells made of cows' horns.
   ``I go to a place where they kill cows and take quickly their
horns,'' Butushin says. ``We have several such places in Moscow.''
   The balalaika, used mainly for playing folk music, is more
popular in rural areas, but it is not unknown in the cities.
   Vladimir Byeloblotsky, 38, playing some jazz riffs on his bass
balalaika, says he was born in Moscow and heard the balalaika as a
child.
   ``I started playing contrabass, like in the symphony orchestra,''
he says. ``Then I was very fond of jazz and I played in a jazz
orchestra which went away from the Soviet Union and now is in the
United States. Now I'm playing this bass balalaika and I'm really
very happy. I think that is the thing I wanted to do.''
   Gorbachev, who plays ``prima balalaika,'' the main one of the
five sizes of balalaikas in the Osipov orchestra, started on the
accordion, like his father.
   ``I joined music school when I was 15 years old,'' Gorbachev
says. ``I heard balalaika and I liked very much the sound and I
started seriously studying this instrument. I was born in Moscow but
my relatives came from villages.''
   Conductor Kalinin explains that orchestra members and aspiring
members alike must audition each year. Seniority doesn't count. ``If
somebody proves not so good, he retires,'' he says.
   Accordion player Igor Konovalov says, ``I was born in 1941, when
the Germans were very close to Moscow in the Second World War. My
mother went to a village and I was born with an accordion in my
hands. At that time, in villages, it was the most popular
instrument. At night, people came out of their homes and sat on
benches and started playing.
   ``I started playing the gormoyan, which is a purely Russian
accordion, when I was 12.''
   Kalinin, 45, the orchestra conductor for 10 years, was once a
professional singer. His wife plays domra in the orchestra. The
youngest of their three children, now 5, waved his hands like a
conductor _ ``by a kind of inheritance,'' his father says _ before
he could talk.
   Butushin, whose interest in horns crowded out his earlier
balalaika playing, has been in the orchestra for 20 years, since he
was 15, and has been on all its American tours _ in 1969, '71 and
'77.
   Lukin, 31, started out playing the cello as a boy in music school.
   ``I was so small and the cello was so big and heavy, I thought it
was better if I played this domra,'' he says. ``Since then I deeply
love this instrument.''
   ``This domra player is the best in the Soviet Union,'' Kalinin
says. ``He's concert master in the orchestra. He treats his domra
like a beloved woman.''
   Lukin's wife also plays domra in the Osipov orchestra and in the
American concerts they play a duet, which they encore with a Scott
Joplin rag.
   The Osipov Balalaika Orchestra is the Soviet Union's biggest and
best, conductor Kalinin says.
   ``It was founded by Vassily Andreyev in 1919, consisting of eight
players.'' Kalinin says. ``He dressed the balalaika in a tuxedo.''
   Conductor Nikolai Petrovich Osipov later added other instruments
and commissioned composers. After his death in 1946, the orchestra
was named for him.
   The sound caught on outside the Soviet Union, Kalinin adds.
``After Andreyev led a tour, balalaika orchestras were formed in
countries all over the world.'' However, as far as Kalinin knows,
all such ensembles now are in the Soviet Union.
</TEXT>
<NOTE>End Adv for Sunday, Feb. 26</NOTE>
</DOC>

Qid: 350	Rank: 37	Score: 10.024606
<DOC>
<DOCNO> AP890221-0246 </DOCNO>
<FILEID>AP-NR-02-21-89 1349EST</FILEID>
<FIRST>s e BC-APN--Balalaika Adv26-1stLd-Writethru b05dgiveanideaofthescopeofsmellresearch:theinfluenceofbodytiltontheuthCarolina
02-21 1074</FIRST>
<SECOND>BC-APN--Balalaika, Adv 26-1st Ld-Writethru, b0523,1117</SECOND>
<HEAD>$Adv26</HEAD>
<HEAD>AGENCIES AND RADIO OUT</HEAD>
<HEAD>For Release Sunday, Feb. 26</HEAD>
<HEAD>From AP Newsfeatures</HEAD>
<HEAD>Eds: SUBS last graf to delete Kalinin statement that there are no
balalaika orchestras outside of the Soviet Union. He was misinformed.</HEAD>
<HEAD>(APN SUNDAY ILLUSTRATIONS: Mailed print subscribers get 1 b&amp;w photo.
ColorFoto subscribers get 1 35mm slide.)</HEAD>
<TEXT>
   
   EDITOR'S NOTE _ Once banned by the Russian czars, the balalaika
is the most beloved musical instrument in the Soviet Union. Now a
Soviet orchestra on a tour of 40 U.S. cities is introducing
Americans to the sound produced by an instrument which is something
like a guitar, but with some big differences.
</TEXT>
<TEXT>
</TEXT>
<NOTE>By MARY CAMPBELL</NOTE>
<NOTE>AP Newsfeatures Writer</NOTE>
<DATELINE>NEW YORK (AP) </DATELINE>
<TEXT>
   There may be some Scots who can't bear the
bagpipe, but it's a rare Russian who bad-mouths the balalaika.
   ``The balalaika is the instrument most close to the Russian
soul,'' says Sergei Lukin, one of the 82 members of the Osipov
Balalaika Orchestra, which is on a tour of 40 American cities
through March 9. ``It is very tender, very touching. It starts
singing in the hands of a real master.''
   What's a balalaika? Well, it's a stringed instrument somewhat
like a guiter, but is triangular shaped, usually has only three
strings, and comes in a variety of sizes.
   Americans may remember the sound from ``Lara's Theme,'' on the
sound track of the film ``Dr. Zhivago.''
   Lukin plays the domra, which looks like a round-bodied banjo, its
flat front the size of a dinner plate. Many balalaikas sound best,
apparently, mixed with complimentary instruments such as the domra.
   Lukin and other members of the Osipov, the Soviet Union's top
balalaika orchestra, were interviewed through an interpreter.
   ``We're doing all kinds of songs _ sad and merry. They all depict
the state of a soul,'' says Nikolai Kalinin, the orchestra's
conductor and artistic director.
   ``There are really rhythmic, energetic songs. You want to dance
when you hear them,'' adds singer Nadja Babkina, founder of the
Babkina Folk Ensemble, which is on tour with the orchestra.
   Miss Babkina, who wears her long hair dramatically forward over
one shoulder, says that in the 16th century, balalaika players were
dispersed and their instruments were burned because they were
thought to be diverting people's attention from the church.
   ``That's why a law was signed by our czar that all these groups
of amateur artists should be destroyed and the instruments also,''
she says. ``Russian people tried to hide these instruments. In the
18th century someone said it was time to renew them.''
   ``Why don't you ask how to play it?'' asks Alexander Gorbachev,
41, holding his wooden balalaika that was made in 1910 by a man
named Nalimov, the Stradivarius of balalaika makers.
   Then he demonstrates, drawing his right index finger across the
strings like a violin bow.
   ``It is such a strong finger, he can even open a bottle,'' says
Sergei Butushin, who plays an array of horns that he has made, some
with bells made of cows' horns.
   ``I go to a place where they kill cows and take quickly their
horns,'' Butushin says. ``We have several such places in Moscow.''
   The balalaika, used mainly for playing folk music, is more
popular in rural areas, but it is not unknown in the cities.
   Vladimir Byeloblotsky, 38, playing some jazz riffs on his bass
balalaika, says he was born in Moscow and heard the balalaika as a
child.
   ``I started playing contrabass, like in the symphony orchestra,''
he says. ``Then I was very fond of jazz and I played in a jazz
orchestra which went away from the Soviet Union and now is in the
United States. Now I'm playing this bass balalaika and I'm really
very happy. I think that is the thing I wanted to do.''
   Gorbachev, who plays ``prima balalaika,'' the main one of the
five sizes of balalaikas in the Osipov orchestra, started on the
accordion, like his father.
   ``I joined music school when I was 15 years old,'' Gorbachev
says. ``I heard balalaika and I liked very much the sound and I
started seriously studying this instrument. I was born in Moscow but
my relatives came from villages.''
   Conductor Kalinin explains that orchestra members and aspiring
members alike must audition each year. Seniority doesn't count. ``If
somebody proves not so good, he retires,'' he says.
   Accordion player Igor Konovalov says, ``I was born in 1941, when
the Germans were very close to Moscow in the Second World War. My
mother went to a village and I was born with an accordion in my
hands. At that time, in villages, it was the most popular
instrument. At night, people came out of their homes and sat on
benches and started playing.
   ``I started playing the gormoyan, which is a purely Russian
accordion, when I was 12.''
   Kalinin, 45, the orchestra conductor for 10 years, was once a
professional singer. His wife plays domra in the orchestra. The
youngest of their three children, now 5, waved his hands like a
conductor _ ``by a kind of inheritance,'' his father says _ before
he could talk.
   Butushin, whose interest in horns crowded out his earlier
balalaika playing, has been in the orchestra for 20 years, since he
was 15, and has been on all its American tours _ in 1969, '71 and
'77.
   Lukin, 31, started out playing the cello as a boy in music school.
   ``I was so small and the cello was so big and heavy, I thought it
was better if I played this domra,'' he says. ``Since then I deeply
love this instrument.''
   ``This domra player is the best in the Soviet Union,'' Kalinin
says. ``He's concert master in the orchestra. He treats his domra
like a beloved woman.''
   Lukin's wife also plays domra in the Osipov orchestra and in the
American concerts they play a duet, which they encore with a Scott
Joplin rag.
   The Osipov Balalaika Orchestra is the Soviet Union's biggest and
best, conductor Kalinin says.
   ``It was founded by Vassily Andreyev in 1919, consisting of eight
players.'' Kalinin says. ``He dressed the balalaika in a tuxedo.''
   Conductor Nikolai Petrovich Osipov later added other instruments
and commissioned composers. After his death in 1946, the orchestra
was named for him.
   The sound caught on outside the Soviet Union, Kalinin adds.
``After Andreyev led a tour, balalaika orchestras were formed in
countries all over the world.''
</TEXT>
<NOTE>END ADV</NOTE>
</DOC>

Qid: 350	Rank: 38	Score: 9.881275
<DOC>
<DOCNO> SJMN91-06098082 </DOCNO>
<ACCESS> 06098082 </ACCESS>
<CAPTION>  Photos (2); PHOTO: Los Angeles Times; Leo Fender, right, with his G&amp;L Musical
Products partner George Fullerton in 1982, with a bass.; PHOTO (Photo
Montage): Below, from left, Telecaster masters Albert Collins, Keith Richards
and Bruce Springsteen; and Stratocaster blasters Eric Clapton, Stevie Ray
Vaughan, Robert Cray and Jimi Hendrix.  </CAPTION>
<DESCRIPT>  MUSIC; REVIEW  </DESCRIPT>
<LEADPARA>  PLAYING a Fender guitar is somewhat like driving a very powerful car,
preferably American-made -- perhaps a 1967 Corvette.;    In the case of the
three-pickup Stratocaster model, you find that this sculpted piece of wood
with two curved teeth by the fingerboard -- an instrument built for Batman --
fits the human body surprisingly well. After you've plugged it into an
amplifier (perhaps a Fender Twin Reverb from the late '60s), you suddenly are
capable of producing the most alarming . . . sound.  </LEADPARA>
<SECTION>  Arts &amp; Books  </SECTION>
<HEADLINE>  LEO FENDER, MUSIC MAKER
THE ENGINEER OF ROCK 'N' ROLL  </HEADLINE>
<MEMO>  Pop Music  </MEMO>
<TEXT>     Such was the legacy of Clarence Leo Fender, the force behind one of the
century's enduring American artifacts -- the solid-body electric guitar. If
rock 'n' roll was invented by Robert Johnson, Elvis Presley and Little
Richard, it was Fender and his company who launched the music's true machine.;
   Purists will argue that Fender, a Fullerton resident who died last month at
82, was not the first to make such a device. Claims are made for the
Rickenbacker company, and for the remarkable Les Paul, who also produced music
from a solid piece of wood in the 1940s (eventually manufactured by Fender's
American arch-rival, the Gibson Corp.). Acoustic guitars had been electrified
for jazz since the 1930s, and perhaps before.;    It was Fender's genius,
though, to mass-produce the solid-wood design that not only made the raucous,
reverberating sounds of rock, but also managed to look the part.;    Like
Levi's and Coca-Cola, the Stratocaster and its more basic cousin, the
Telecaster swept the world in the early '50s. Both have since been copied and
recopied by just about every guitar maker from New York to South Korea. But if
their design can be found everywhere, nothing has quite duplicated the spirit
of the originals.;    Tom Wheeler, in his encyclopedic book "American
Guitars," perfectly catches their visual audacity: "Fender guitars were rock
and roll, jet-age, outrageous. They were as futuristic as Sputnik, or as tacky
as all the sequins in Webb Pierce's wardrobe, depending on your point of view.
Before Fender, there were no turquoise musical instruments, no Candy Apple
Red, scoop-body dragsters with gold-plated hardware and white plastic knobs.";
   Fender's creations became not only the sound of rock 'n' roll, but its
history. Such artists as Jimi Hendrix, Buddy Holly and Eric Clapton became
inseparable from their Stratocasters (and, in some cases, from their onstage
demolition of them.);    Inevitably, anyone who admired these Strat players
(or Telecaster players such as Bruce Springsteen, Keith Richards and Danny
Gatton) would want to own such odd-looking, interesting instruments -- and
would treasure them.;    It is a wonderful aural coincidence that the words
Strad and Strat sound so much alike: A violinist will talk about his
Stradivarius with the same reverence that a rock guitarist will speak about
his Stratocaster.;    The father of the Strat was no great fan of rock.
Rather, Fender was fascinated by the way you could get sounds by placing
magnets under the metal strings of guitars.;    He experimented with coils of
different sizes and impedances -- more intrigued, perhaps, by capacitors than
by harmonies. He held dozens of patents, and so much attention was lavished on
his guitars that one could overlook the fact he made the world's first
electric bass in 1951 -- an instrument that also changed pop music forever.;  
 With astounding understatement, he once said, "I never had too much feeling
for the acoustic guitars. I had always felt that the guitar could do a much
better job if it wasn't limited by the properties of that vibrating top.";   
For him, the combinations of sound, once you were freed from the acoustic
limit, seemed infinite. With a revolutionary three pickups (the Stratocaster
version; Telecasters had only two) and the proper amplifier, musicians could
fill a large room. With enough amplification, they would discover soon enough,
their devices could fill a stadium.;    But even a beginner learns that with a
little experimentation, a mere flick of the wrist, the Fender sound can be
sustained, or vibrated -- and cranked up. It can be turned into Hendrix-like
feedback or Stevie Ray Vaughan-like blues or the B.B. King-like solos on those
Rolling Stones albums.;    This is not a guitar for "Michael, Row the Boat
Ashore." Even on the first test drive, you can imagine it assaulting Jericho's
walls.;    In time, caught in the entropy of our century, things went
downhill. Fender sold the company to CBS in 1965, and since then connoisseurs
of Strats and Teles have looked for the phrase "pre-CBS" whenever one was
sold.;    Guitars that were traded routinely for under $200 in the 1950s and
early 1960s suddenly were going for thousands.;    "Fender Stratocaster, 1957,
Sunburst, Been Through Hell. $5,000" is still a typical advertisement.
Eventually, the unthinkable happened: Fenders were made in Japan. Some still
are, although the company's present owners again are making them in the United
States.;    Fender himself, the man Wheeler calls the "Henry Ford of electric
guitars," continued to build them. He founded G &amp; L Musical Products, and many
G &amp; L instruments are much prized.;    By most accounts, Fender was outwardly
the perfect nerd, absorbed by mechanical things until the end. "He rarely
wears a suit, and he's almost never without his little leather holster full of
screwdrivers," said a long-ago profile in Guitar Player. "In his shirt, he
keeps a plastic pocket protector stuffed with pens, pencils and a metal
ruler.";    He never learned to play the guitar. (box)  </TEXT>
<BYLINE>  JEFFREY A. FRANK, Washington Post  </BYLINE>
<COUNTRY>  USA  </COUNTRY>
<EDITION>  Morning Final  </EDITION>
<CODE>  SJ  </CODE>
<NAME>  San Jose Mercury News  </NAME>
<PUBDATE>   910407  </PUBDATE> 
<DAY>  Sunday  </DAY>
<MONTH>  April  </MONTH>
<PG.COL>  9  </PG.COL>
<PUBYEAR>  1991  </PUBYEAR>
<REGION>  WEST  </REGION>
<FEATURE>  PHOTO  </FEATURE>
<STATE>  CA  </STATE>
<WORD.CT>  964  </WORD.CT>
<DATELINE>  Sunday April 7, 1991
00098082,SJ1  </DATELINE>
<COPYRGHT>  Copyright 1991, San Jose Mercury News  </COPYRGHT>
<LIMLEN>  1  </LIMLEN>
<LANGUAGE>  ENG  </LANGUAGE>
</DOC>

Qid: 350	Rank: 39	Score: 9.468606
<DOC>
<DOCNO> AP891016-0214 </DOCNO>
<FILEID>AP-NR-10-16-89 1649EDT</FILEID>
<FIRST>a e BC-WKD--RecordReviews Adv00   10-16 0616</FIRST>
<SECOND>BC-WKD--Record Reviews, Adv 00,0637</SECOND>
<HEAD>$adv00</HEAD>
<HEAD>For Release Anytime</HEAD>
<HEAD>AP WEEKEND ENTERTAINMENT AND ARTS</HEAD>
<HEAD>In the Groove: Record Reviews</HEAD>
<TEXT>
   
   ``Popular Songs and Irish Ballads'' (EMI) _ John McCormack
   
   John McCormack made his opera and recording debut in 1904 at age
21. He left the opera stage 19 years later but continued making
records and recital appearances for two more decades. Along the
way, he became one of the concert world's first true superstars, a
stage idol who collected million-dollar salaries, race horses,
homes and old master paintings, but who never lost his feel for the
popular music his concert audiences loved.
   This son of Ireland, though a terrible opera actor, was a
tremendous artist whose vocal glory was renowned. It was the great
violinist Fritz Kreisler, or in some versions Jan Kubelik, who said
McCormack had a Stradivarius in his throat. Sounds, beautiful
sounds, poured out effortlessly.
   This EMI rerelease under the series ``Great Recordings of the
Century'' (an odd title, since records haven't been made in any
other century) presents the songs that his mass public loved, and
that McCormack loved to sing. They range from 1930 to 1941, with
one from 1908. The incomparable accompanist Gerald Moore appears on
11 tracks.
   The listener must have a bent for Irish ballads, or surrender
him or herself to the period sentimentality of the music, to enjoy
this disc. If either is the case, it can only delight.
   The extremely generous program _ 23 songs at 73:03 _ gives the
range of the popular-music McCormack. ``The Garden Where the
Praties Grow'' is a typical, light-hearted ditty of the Old Sod.
McCormack sings a melancholy ballad of parting in ``Terence's
Farewell to Kathleen.'' In the charming ``Off to Philadelphia,''
the tenor is the happy-go-lucky immigrant who ``lately took the
notion for to cross the briny ocean.''
   A more perfect interpretation of ``Jeanie With the Light Brown
Hair'' could not be imagined. McCormack's voice here resembles a
line from this favorite: ``floating like a vapor on the soft summer
air.''
   A sad story about McCormack, who died in 1945, is told by Henry
Pleasants in his book ``The Great Singers'': ``Towards the end of
his life, when nothing but the records was left, he would play them
again and again, exclaiming happily, and a bit wistfully _ possibly
a bit incredulously: `I was a damned good singer, wasn't I?'''
   He was. Even in the recordings made in his mid-50s, the timeless
McCormack sounds like a brave lad about to step ashore in America,
or the young wooer of a sweet colleen.
   _ By Daniel J. Wakin, Associated Press Writer.
</TEXT>
<TEXT>
   
   ``Good Evening'' (Warner Bros.) _ Marshall Crenshaw
   
   Singer-songwriter Marshall Crenshaw's bright and bouncy
guitar-based tunes seem ready-made for the Top 40. But seven years
after the release of a stunning debut album, he's still looking for
a commercial breakthrough.
   So on ``Good Evening,'' Crenshaw turns to outside sources for
half of the 10 songs. The result is some of his best performances
yet _ Richard Thompson's ``Valerie,'' Bobby Fuller's ``Let Her
Dance'' and John Hiatt's ``Someplace Where Love Can't Find Me.''
Crenshaw's own songs are strong, too, especially the lovely ``She
Hates to Go Home.''
   But artistically, Crenshaw's problem has been the way he is
recorded, rather than his material. Crenshaw albums usually sound
as though something is wrong with the stereo.
   That hasn't changed on ``Good Evening.'' Instead of a clean,
sparse texture that would serve these hook-filled pop songs best,
Crenshaw opts for a dense, sometimes muddy sound. The blatting bass
and hissing cymbals mar an otherwise fine record.
   _ By Steven Wine, Associated Press Writer.
</TEXT>
<NOTE>End Adv for Release Anytime</NOTE>
</DOC>

Qid: 350	Rank: 40	Score: 9.329655
<DOC>
<DOCNO>FT921-2378</DOCNO>
<PROFILE>_AN-CCSBEAFXFT</PROFILE>
<DATE>920319
</DATE>
<HEADLINE>
FT  19 MAR 92 / Portrait by Rembrandt expected to reach Pounds 3m: Saleroom
</HEADLINE>
<BYLINE>
   By ANTONY THORNCROFT
</BYLINE>
<TEXT>
LORD Rosebery is disposing of one of the most important paintings in his
collection to raise money to repair his family's stately home in Scotland.
The painting, a portrait of the religious reformer Johannes Uyttenbogaert,
is regarded as one of the finest privately-owned Rembrandts in the UK. It is
expected to fetch Pounds 3m when auctioned at Sotheby's on July 8.
The painting came to the Rosebery family in the 19th century when the 5th
Earl married into the Rothschilds, who had acquired the work a generation
earlier. It originally hung in Mentmore Towers, the Victorian mansion which
Lord Rosebery sold with its contents in 1977. The appearance on the market
of this important Rembrandt, with the strong possibility that it will sell
to a foreign buyer, will intensify fears that the national heritage is
disappearing abroad with increasing frequency.
The possibility of a Conservative government issuing a list of treasures
that cannot be exported, or of a Labour government increasing the tax burden
of the very rich, is believed to be behind the appearance on the market of
several Old Masters in recent weeks. On April 15 Christie's hopes to sell
another work by Rembrandt as well as paintings by Holbein and Canaletto.
A cello made by Stradivari in about 1690 and owned by the British virtuoso
Robert Cohen sold for Pounds 605,000 at Christie's yesterday to a musician
who remained anonymous.
The price was at the low end of the estimate. Known as the 'Bonjour', the
instrument is considered to be one of the most important cellos to reach the
market in recent years. A Stradivari violin known as the Schreiber and once
loaned to Pinchas Zukerman, the violinist, sold at the top of its estimate
for Pounds 352,000. It also went to a musician.
</TEXT>
<PUB>The Financial Times
</PUB>
<PAGE>
London Page 8
</PAGE>
</DOC>

Qid: 350	Rank: 41	Score: 8.980590
<DOC>
<DOCNO>FT923-815</DOCNO>
<PROFILE>_AN-CI0ADAATFT</PROFILE>
<DATE>920926
</DATE>
<HEADLINE>
FT  26 SEP 92 / Arts: A candle-lit gala and student workshop - Music in
Italy / Palladio provides the venue for Paul Driver while in Ischia David
Murray enjoys opera and exotic plants
</HEADLINE>
<BYLINE>
   By PAUL DRIVER and DAVID MURRAY
</BYLINE>
<TEXT>
IN THE Euganean Hills lies the little town of Bagnolo di Lonigo, and hard
by, but not so very easy for even a seasoned coach-driver to find, one of
Andrea Palladio's earliest villas, built between 1542 and 1544 for the most
powerful family on the Veneto mainland, the Pisanis. It is not to be
confused with the celebrated, sublimely palatial Pisani residence on the
Brenta Canal at Stra. The Lonigo property is by comparison a bluffly
domestic proposition, a cubical construction with rusticated triple arch
entrance. The River Gua, hedged off, flows past the doorstep.
Alone of Palladian villas, this one has remained with the family for which
it was designed, but until recently has been mouldering in disuse. Now the
present owner, Marchesa Lepri, has seen to an accurate restoration of the
building and the 16th century frescoes (by an unknown artist) which adorn
its fine central sala. The Queen Mother paid a visit there a couple of years
ago, and the public has at last been let in, albeit paying some Pounds 200
for the privilege.
The occasion was a gala concert given in aid of the United Nations' 'Decade
of the Disabled', the second (sponsored by Tamoil) in a series of annual
events under the artistic direction of the violinist Andrea Cappelletti and
named 'The Lost Palaces of Europe' in reference to the public
inaccessibility of its chosen venues. The villa proved difficult of access
in the purely physical sense - no outing, this, for the disabled - but if it
could not quite count as a palace, it certainly offered an image of magical
resplendency, candle-lit as it was in the balmy twilight at the head of a
great sweep of candle-lit lawn. From the point on the lawn at which we had
scramblingly entered, the refurbished, illuminated frescoes were already -
and breathtakingly - visible through the semi-circular 'thermal' window of
the sala.
That room proved to be of more than domestic size and consequence - an
interestingly cruciform and barrel vaulted structure, whose frescoes seen
close-to were charming but no more, and whose acoustics were awkwardly
reverberant. The concert suffered also from poor lighting, except when made
periodically over-bright by the television crews. But the audience was there
as much for the sense of place and the anticipation of a handsome candle-lit
supper as for the concert itself, which, by a familiar law of the gala
event, became something that might almost have been left out.
Nevertheless, it made its plea. The young players, notable for eager
sonorous freshness rather than finesse, of Interpreti Veneziani and their
conductor Paolo Cognolato gave us a brashly arresting Rossini overture - Il
Signor Bruschino - and accompanied Signor Cappelletti in Mozart's A major
concerto, K. 219. He produced a lustrous stream of sound from his 1727
Stradivarius, the instrument's historical interest and great price nicely
fitting in with the tone of the evening. Finally came Domenico Cimarosa's Il
Maestro di Cappella (1791), a little one-act lampoon of the conductor's
role, and effectively the first-ever young person's guide to the orchestra.
Baritone Maurizio Muraro, costumed in brocade, goaded and cajoled his unruly
musicians and skilfully entertained us. Then followed a couple of not too
long speeches - and a shimmering supper.
MORTELLA means 'myrtle', which as a name for the late Sir William Walton's
garden-estate on Ischia is a kind of joke. There is myrtle, along with other
Mediterranean natives - citrus trees heavy with fruit, waves of
bougainvillaea, a secret alley of camellias; but also hibiscus and cactus
and strange Antipodean shrubs, banana-trees and luxuriant palms, eerily
cylindrical trees with bark that feels like living hide. Where paths cross
there are fountains, and down a main artery trickles a slender watercourse,
Alhambra-style.
Amid the heady scents of this densely exotic mondello, one might expect
tropical birds too. Instead there are the distant cries of sopranos in
rehearsal - at least in September, when the Fondazione Walton funds an
intensive master-course for chosen young singers. Lady Walton is no less
intent on making La Mortella a nest for musical development than upon
cultivating her marvellous garden, onward and (especially) upward.
It burgeons from a long chasm in the lava-based ground, rife with
horticultural vitamins. In horizontal terms the acreage is not enormous, but
obliquely it stretches up and up. The Walton house is built into the cliff,
like the more recent Walton museum cum recital-room and the Tea-House;
thence paths ascend toward Sir William's memorial rock, a serene 'Crocodile
Pool' and a topmost pond inhabited by a single, gigantically swollen lotus
plant.
For students and lucky guests there is also a swimming-pool with a matchless
view from a great height - echoing the crater-lake atop the extinct volcano
in the middle distance. The hard-working students need it, for their course
is strenuous. Last year it was devoted to Lieder, especially Hugo Wolf's
Italian Songbook. This year the group was chosen through auditions in
Florence and London to make up a cast of six for Cimarosa's Il matrimonio
segreto.
They were outnumbered by their teachers, led by the producer Colin Graham
and Glyndebourne's distinguished Head of Music Staff, Martin Isepp. While
they were coached rigorously in Italian diction as well as singing,
rehearsals for the Cimarosa proceeded. I watched Graham getting them to
extract the maximum dramatic sense from the recitatives, instead of gabbling
through them. It wasn't exactly a process of discovery, for he told them
repeatedly what their characters were feeling; but it was an object lesson
in faithful, practical attention to the text.
Earlier there was a concert in the gardens which let the young singers show
their paces. It included a performance of Walton's Facade, brightly
conducted by Susanna Pescetti, and declaimed with the utmost verve and
clarity by Lady Walton herself with Graham.
The promising Rossini bass on the course, Antonio Abete, had to sing in a
Parma competition that night; but the singers' complement was made up by a
remarkable new contralto, Anna Maria di Micco. Her confident, impassioned
delivery of a Tancredi aria foretold a brilliant Rossinian future for her.
In Donizetti and two of Roger Steptoe's 'Chinese Lyrics', the soprano Anna
Maria Panzarella sang with as much skill and charm as in the Royal College's
Fille du Regiment this summer.
Also from the RCM, the mezzo Susan Legg was staunch and affecting in Walton
and Jonathan Harvey. The Guildhall's Simon Thorpe, whose English 'Count' in
the Cimarosa was developing nicely, shone in Vaughan Williams (less in
Wagner); Maurizio Dalena, from Bari, displayed a stylish tenor that wants
more variety of colour yet. Maria Angela Spotorno wields not only a
well-formed soprano, but the knowing allure of a much more experienced
performer; we shall see much more of her.
As summer schools go, the one at La Mortella is sui generis, not least
because of its extraordinary setting. The gardens are open to the public
several times a week (ring Ischia 081-986220). Meanwhile, La Mortella's
Matrimonio segreto will have a British performance on October 14, in Lady
Aberdeen's Haddo Hall.
</TEXT>
<PUB>The Financial Times
</PUB>
<PAGE>
London Page XVII
</PAGE>
</DOC>

Qid: 350	Rank: 42	Score: 8.796138
<DOC>
<DOCNO> AP880618-0137 </DOCNO>
<FILEID>AP-NR-06-18-88 0600EST</FILEID>
<FIRST>d f PM-TexacoMeeting     06-18 0873</FIRST>
<SECOND>PM-Texaco Meeting,0901</SECOND>
<HEAD>Texaco Claims Victory in Vote; Icahn Says Too Close To Call</HEAD>
<HEAD>LaserPhotos TA2,8</HEAD>
<NOTE>EDS: For Saturday PMs</NOTE>
<BYLINE>By JOHN C. GIVEN</BYLINE>
<BYLINE>AP Business Writer</BYLINE>
<DATELINE>TULSA, Okla. (AP) </DATELINE>
<TEXT>
   Texaco Inc. officials say they're confident
they have won their proxy war against Carl C. Icahn. But the wily
financier, who is also the oil giant's biggest shareholder, says he
thinks it could go either way.
   Top executives of the nation's third-largest oil company and
Icahn, who owns 14.8 percent of Texaco's 243 million outstanding
shares, were speaking after the company's annual meeting here
Friday.
   Icahn's pursuit of five of Texaco's 14 board seats has been
closely watched by shareholders and the investment community,
mainly because he has vowed to use those seats _ if he wins _ to
pressure the company to put his $60-a-share, $12.4 billion buyout
offer before the shareholders.
   The victor will not be known for weeks, however, because it will
take that long to sort through and tabulate the ballots.
   ``Our advisors tell us the likely outcome of the vote is that we
win,'' said James W. Kinnear, Texaco's president. Asked about the
margin of victory, he replied: ``We think it is substantial.''
   Icahn was a little more cautious, saying he thought the outcome
would hang on a block of shares controlled by the New York
investment firm Kohlberg, Kravis &amp; Roberts Co.
   Kohlberg Kravis has not made public how much of its original 12
million-share stake it voted, or which way.
   ``If it went with us, we definitely win,'' Icahn said. ``If they
abstained, I believe we win. But if it went against us, we
definitely lose.''
   Wall Street appeared to be betting on management. It sent
Texaco's stock $1.50 lower to close at $48 a share Friday on the
New York Stock Exchange.
   Final ballots were cast after Icahn and top Texaco officials
made their final pitches during the annual meeting, which was held
in a packed hotel ballroom.
   Speaking at his own lectern set off to the side, the takeover
specialist criticized Texaco's management for refusing to let
shareholders vote on his offer for the Texaco shares he does not
already own.
   ``If we're elected, what we will do is keep our offer out
there,'' he said. ``Why should you not be allowed to decide? Simply
because management does not want to take the risk of losing its
position, its prerogatives.''
   At $60 a share, Icahn's bid puts a $14.6 billion value on the
company. Adding the $1.2 billion he paid for his stake to the $12.4
billion he is offering for the shares he does not own, the $13.6
billion total would amount to the largest buyout in corporate
history.
   The crowd, estimated at slightly more than 1,000, generally
favored management. Texaco has many employees in the Tulsa area, a
fact that did not go unnoticed by its mayor, Rodger A. Randle, who
rose to praise the company during a question-and-answer session.
   Many shareholders sported buttons featuring the familiar Texaco
star. Some went one better, dressing in various combinations of red
and white, the corporate colors.
   Another indication of the crowd's attitude came early in the
meeting, after Icahn protested when Texaco Chairman Alfred C.
DeCrane Jr. interrupted him to say he had exceeded his time limit
for speaking.
   ``A manifestation of the inflexibility that has caused Texaco
its problems,'' Icahn sniffed _ drawing mixed boos and cheers.
   Kinnear, speaking for the company's slate of directors, touted
the ``spectacular progress'' it had made over the last 18 months,
during which Texaco emerged in April from a year under Chapter 11
bankruptcy protection.
   The keystone of its reorganization plan was a $3 billion payment
to Pennzoil Co. to settle a lawsuit resulting from Texaco's 1984
acquisition of Getty Oil Co. after Pennzoil had made earlier moves
to acquire Getty.
   The plan includes sales of $5 billion of marginally profitable
assets and a $1.7 billion distribution to shareholders.
   ``Our plan ... is based on the building of value, both today and
for the future,'' Kinnear said, charging that the Icahn group's
true intention ``is that they be designated as the brokers for the
breakup and sale of this company's assets.''
   Several shareholders expressed skepticism about Icahn's
intentions, even though the offer does propose about $10 more per
share than Texaco's stock has been trading for recently.
   ``If you turned (the company) over to Mr. Icahn, it would be
like giving your Stradivarius to a gorilla,'' said Bill Lenz,
referring to the prized antique violins made by the craftsman of
the same name.
   Several Texaco distributors and wholesalers also spoke, calling
for support of management while noting that Icahn's actions had
harmed their businesses.
   ``Some of my dealers are looking for another supplier (and)
heating oil accounts are questioning whether I'll be able to supply
heating oil this winter, said Carlos R. Leffler, a Pennsylvania
distributor.
   But it was not all clear sailing for management.
   Reflecting a palpable current of shareholder unhappiness, Bill
Collallas, a shareholder from Cherry Hill, N.J., criticized the
comany's ``shoddy and incompetent management'' over the past four
years.
   ``You're demeaning my intelligence by refusing my right to vote
on Mr. Icahn's proposal. And I resent it,'' he told Kinnear and
DeCrane.
</TEXT>
</DOC>

Qid: 350	Rank: 43	Score: 8.729417
<DOC>
<DOCNO> SJMN91-06178327 </DOCNO>
<ACCESS> 06178327 </ACCESS>
<CAPTION>  Photos (2); PHOTO: Photos by Jim Gensheimer -- Mercury News; Hideo Kamimoto
and Scott Shu-Kun Cao busy in the workshop of their business in Japantown.
(color); PHOTO: Kamimoto String Instruments sells violins for all sizes.
(color)  </CAPTION>
<DESCRIPT>  MUSIC; EQUIPMENT; REPAIR; BUSINESS; JAPANESE-US; SAN-JOSE; PROFILE  </DESCRIPT>
<LEADPARA>  The smell of freshly cut wood welcomes new visitors inside Hideo Kamimoto's
small shop even before a wall lined with at least 80 multisized violins meets
the eye.;    The workshop, in the rear, is a familiar sight to regular
customers who enter and leave through the back door.  </LEADPARA>
<SECTION>  East Extra  </SECTION>
<HEADLINE>  FINE-TUNING THE VIOLIN BUSINESS
MEN FORM DUET TO SERVE MUSICIANS, YOUNG AND
OLD  </HEADLINE>
<MEMO>  Also ran in EX1/6, EX4/1  </MEMO>
<TEXT>     At the counter, between the workshop and the violin wall, Kamimoto speaks
to a customer preparing to leave with his treasured instrument.;    The sound
of sanding coming from the rear stops, and a man's voice calls out a
farewell.;    Kamimoto opened Kamimoto String Instruments 10 months ago at 609
N. Fourth St. in Japantown. The self-taught violin and guitar repairman runs
the shop.;    Scott Shu-Kun Cao, Kamimoto's partner of nearly six months,
specializes in making and repairing violins and other string instruments, such
as the cello and viola.;    "You could say I learned as an apprentice,"
Kamimoto said. "I had no formal background like Scott did. I worked part-time
for repair shops when I went to Cal (University of California, Berkeley).;   
"I got interested in the guitar and how it was made after I was folk singing
for a while in college.;    "There are no standards to guitar repair, there
still aren't. In 1975, I wrote a book ("Complete Guitar Repair"). Now, it's a
standard text.";    Kamimoto and Cao joined forces in January. "Scott was
working in a violin shop in Berkeley where I bought instruments. I met him
there. We got to talking," Kamimoto said.;    "We thought that by the two of
us getting together, we could strengthen our position in the field.;   
"Together, we improved our customer service by providing a wider range of
services, and we have expanded beyond San Jose to a wider retail area," he
added.;    Aside from repairing string instruments, Kamimoto also imports
Chinese violins used by professional musicians.;    "These violins are of the
highest quality," he said. "They are hand-crafted and equal the value of those
from even Germany. They, of course, cost a lot less because of the current
working conditions in China.";    Cao is originally from China, and had two
years of formal training in violin-making there. After graduating, he went to
work at Kapok, a renowned violin factory in China.;    He moved to the United
States seven years ago. In San Francisco, Cao worked at Rolland Feller's
violin shop, where he received his violin-repair training. He also worked for
Ifshin, a violin shop in Berkeley.;    "I was the major repairman there at
Ifshin, and in my spare time I kept making violins," Cao said. "In 1988, I was
given the chance to attend a violin workshop, where I was taught by famous
violin makers like Hans Weisshaar and Luiz Bellini.";    Now with Kamimoto,
Cao specializes in restoring string instruments.;    The shop also sells
materials to students of the Suzuki Instructional Method, which teaches
childrento play instruments at a very early age.;    "The theory of this
method is based on the fact that children learn through imitation, just like
they learn to speak long before they can read and write," Kamimoto said.;   
Similarly, Suzuki students listen to recorded music while learning to play.;  
 Kamimoto provides the instruments, tapes and books necessary to start young
children on the violin and cello.;    The instruments for the Suzuki method
are specially crafted for young children as they grow.;    A typical
3-year-old starting on the Suzuki method will go through six sizes of violins
before playing the standard-sized instrument.;    The smallest violin, 14 1/2
inches, looks toy-like compared with the standard-sized ones hanging on the
front wall. Kamimoto said it was not a toy, but was made to fit a 3-year-old's
arm.;    Kamimoto and Cao have customers from all over the globe. Their
regular Californian customers come from as far as the East Bay and even Los
Angeles.;    Both said they see strong support for the fine arts from the
Asian community.;    "There is a large group of Asians, mainly Koreans,
Chinese and Japanese, who choose to start their 3- or 4-year old children on
playing string instruments," Cao said. "These children grow up with the
violin, cello or viola, and they need good professional service to keep up
their instruments.;    "And when these students take that next step on
becoming professionals, they need a shop that provides quality instruments. We
provide these services to our customers."  </TEXT>
<BYLINE>  THERESA VILORIA, Mercury News Staff Writer  </BYLINE>
<COUNTRY>  USA  </COUNTRY>
<EDITION>  Morning Final  </EDITION>
<CODE>  SJ  </CODE>
<NAME>  San Jose Mercury News  </NAME>
<PUBDATE>   910626  </PUBDATE> 
<DAY>  Wednesday  </DAY>
<MONTH>  June  </MONTH>
<PG.COL>  1  </PG.COL>
<PUBYEAR>  1991  </PUBYEAR>
<REGION>  WEST  </REGION>
<FEATURE>  PHOTO  </FEATURE>
<STATE>  CA  </STATE>
<WORD.CT>  775  </WORD.CT>
<DATELINE>  Wednesday June 26, 1991
00178327,SJ1  </DATELINE>
<COPYRGHT>  Copyright 1991, San Jose Mercury News  </COPYRGHT>
<LIMLEN>  1  </LIMLEN>
<LANGUAGE>  ENG  </LANGUAGE>
</DOC>

Qid: 350	Rank: 44	Score: 8.637533
<DOC>
<DOCNO> AP891222-0225 </DOCNO>
<FILEID>AP-NR-12-22-89 2126EST</FILEID>
<FIRST>a a BC-ViolinMaker-PhotoPkg Adv28   12-22 0317</FIRST>
<SECOND>BC-Violin Maker-Photo Pkg, Adv 28,0323</SECOND>
<HEAD>$adv28</HEAD>
<HEAD>For release Thursday, Dec. 28, and thereafter</HEAD>
<HEAD>Violin Maker Says Carving a Violin Similar to Rearing a Child</HEAD>
<HEAD>LaserPhotos NY306,307,308,309,310,311 on schedule for Dec. 23</HEAD>
<BYLINE>By CAROL PUGH</BYLINE>
<BYLINE>Associated Press Writer</BYLINE>
<DATELINE>MIAMI (AP) </DATELINE>
<TEXT>
   Severin Schurger spends weeks perfecting a violin,
days just carving and eyeing the scroll of his creation to ensure
its curves are even.
   ``Something I would like to achieve would be to make a nice
scroll quickly,'' says Schurger, who studied playing and making
violins in Japan, where his mentors could carve two perfectly
shaped spruce scrolls a day.
   So carefully does he work that he carves just two or three
violins a year out of spruce and maple, making about 25 violins,
six violas and three cellos in 18 years. The instruments sell for
about $6,000 each.
   ``I just sort of stopped practicing and I wanted to devote my
life to repairing and making violins so other people can play. I
had a passion for it. It's something I really enjoy.''
   In addition to that passion, Schurger brought to the craft his
experience as a cabinetmaker on sailboats. ``There's a big
similarity between a sailboat and a violin,'' he says, likening a
violin's bridge to a sailboat's mast, its scroll to the sailboat's
decorative stem.
   Watching a violin take form is enjoyable, he says, but ``when I
put the varnish on, that's when it comes alive. That's a real big
turn-on.''
   For fun, Schurger spends his free time with voice lessons and
singing in a Miami opera company. But violins are his first love,
and he equates each of his finished instruments to a child that's
ready to leave home.
   ``I don't really get attached to one _ you can't. ... This thing
you are making is going out on the world stage. It's like a part of
yourself.''
</TEXT>
<NOTE>End Adv for Dec. 28</NOTE>
</DOC>

Qid: 350	Rank: 45	Score: 8.333072
<DOC>
<DOCNO> WSJ880111-0072 </DOCNO>
<HL> LAB NOTES </HL>
<AUTHOR> Jerry E. Bishop </AUTHOR>
<SO> </SO>
<CO> CGNE DOW </CO>
<IN> CHM PHA </IN>
<TEXT>
      Maybe Stradivari
   Knew It All Along
   HAS THE SECRET of the Stradivari and Guarneri violins finally been found? 

   A Texas A&amp;M University scientist says it has. 
Moreover, he claims, it can be duplicated. 
The secret of the exquisite tone of these 17th century violins is in the varnish, not the wood or construction as had been assumed, says Joseph Nagyvary, professor of biophysics and biochemistry. 

   In research he's not yet published, Prof. Nagyvary says he's found the varnish "loaded with submicroscopic mineral crystals," of which he has so far identified 22 kinds, including antimony and ruby. 
Modern chemists would call it a composite polymer or resin. 
The crystals make the varnish extremely hard, "probably 100 times tougher" than varnish used on violins for the last 150 years, and explain the mystery of the old violins' unique sheen, he says. 

   More important, "we expect this varnish had a fundamental effect on tone," Prof. Nagyvary says. 
Until now, he says, experts "had considered the varnish a necessary evil," detracting from tone. 
But that's because it was assumed the varnish was the same gummy substance used in later centuries. 

   To make such a varnish "required enormous skill on the part of the chemists, who were probably the neighborhood druggists," he says. 
The ultrafine powders used would be quite toxic. 
As soon as all the mineral crystals are identified, it should be possible to duplicate the varnish and produce violins with the tone of instruments made by the Stradivari and Guarneri families, he believes. 

   As Temperatures Drop,
   Cholesterol Counts Rise
   CHOLESTEROL levels appear to rise in the winter and fall in the summer for no obvious reason. 

   Cholesterol levels in the blood were measured periodically for four years in more than 1,400 middle-aged men during a major research project to see if lowering cholesterol levels reduced the risk of heart attacks. 
The men, all of whom had high cholesterol levels, were in a control group and thus weren't treated for excess cholesterol. 
A new analysis finds that the average cholesterol level during December-January each year was 277.6 milligrams per deciliter of blood plasma, or 7.6 milligrams higher than in the June-July period. 

   Seasonal variations in weight also occurred, but this explained less than a third of the winter increase in cholesterol. 
It also was unlikely that differences in summer and winter diets could account for the difference in cholesterol levels, a team of federally sponsored researchers report in the journal Circulation. 
The winter increase in cholesterol isn't enough to cause any medical concern but "many fundamental questions about its origin and mechanism remain unanswered," say the mystified researchers. 

   Naturally Blue Roses,
   Carnations and Daisies
   FLOWERS of a different color may soon emerge from genetic-engineering laboratories. 

   Genetic engineers at the Max Planck Institute in Tubingen, West Germany, report in the science journal Nature that they transplanted a gene from a corn plant into a petunia, changing the petunia's pigment-making chemistry. 
The process produced brick-red petunias instead of the usual pale pink ones. 

   The German experiment, done mainly as basic research, was good news to Calgene Inc., a Davis, Calif., genetic-engineering company. 
Calgene owns a third of an Australian horticulture firm that has cloned the gene that naturally produces blue petunias. 
Its scientists hope to transfer the gene to ornamental plants that don't ordinarily produce blue flowers, says Robert M. Goodman, Calgene's executive vice president for research. 
The German success shows that such gene transfer can be done, he notes. 
Top on the list for the Australian researchers are truly blue roses, carnations, gerbera daisies and chrysanthemums. 

   Chemical Might Help
   Skin Grafts Survive
   SURGICAL PATIENTS and heart disease victims could be the beneficiaries of a novel chemical. 

   The chemical is difluoromethylornithine, or DFMO, developed a decade ago by Dow Chemical Co.'s Merrell Dow subsidiary in Cincinnati. 
It slows down the division of cells and has been tested in cancer patients with mixed results. 
It currently is being tested in humans as a possible treatment for African sleeping sickness, which is caused by a rapidly multiplying, single-cell parasite. 

   To curb cell division, DFMO slows the metabolism of cells, reducing their oxygen needs. 
This feature caught the attention of plastic surgery researchers at Duke University Medical Center. 
In reconstructing damaged faces and other areas, surgeons often have to transplant large sections of tissue from one part of the body to another. 
If adequate blood circulation isn't restored quickly, some of the transplanted tissue will die for lack of oxygen. 

   The Duke scientists reasoned that if DFMO could reduce the tissue's oxygen needs, the grafts might survive longer, allowing for adequate blood circulation to be established. 
In experiments in rats, there was a 50% increase in the survival of skin grafts after DFMO treatment, the Duke researchers report in the Federation of American Societies for Experimental Biology Journal. 

   The next step is to test DFMO in pigs, whose skin is more humanlike than that of rats, says Bruce Klitzman, director of plastic surgery research at Duke. 
The drug might also be tested in dogs to reduce the amount of heart muscle that dies when a heart attack blocks off the flow of oxygen-carrying blood. 

</TEXT>
</DOC>

Qid: 350	Rank: 46	Score: 8.295692
<DOC>
<DOCNO> AP880518-0073 </DOCNO>
<FILEID>AP-NR-05-18-88 0438EDT</FILEID>
<FIRST>r a PM-MusicalScam     05-18 0461</FIRST>
<SECOND>PM-Musical Scam,0474</SECOND>
<HEAD>Con Man Pleads Guilty To Scams Involving Rare Instruments</HEAD>
<BYLINE>By WILLIAM C. HIDLAY</BYLINE>
<BYLINE>Associated Press Writer</BYLINE>
<DATELINE>CHICAGO (AP) </DATELINE>
<TEXT>
   Alexander N. Pandis lived high _ plunking down
$32,000 for a Rolls Royce, jetting to Paris _ but federal
prosecutors say he made at least $500,000 from such scams as
selling rare musical instruments he had borrowed.
   Pandis, 25, of Chicago, pleaded guilty Tuesday in U.S. District
Court to mail fraud and credit-card fraud for a series of cons _
including bilking his father out of $53,000 _ that began in 1983,
said Assistant U.S. Attorney Patrick Foley.
   ``I'd describe him as obviously a very bright, intelligent
individual who chose to use his skills for illegal gain,'' Foley
said. ``It's actually a very unfortunate commentary on a kid who at
the age of 20 decided to perpetrate a fraud on various individuals
and made literally hundreds of thousands of dollars until he was
caught.''
   Pandis is to be sentenced July 6 and could face up to 15 years
in prison and $500,000 in fines.
   The most lucrative of his scams involved borrowing rare, antique
musical instruments, such as a 138-year-old Pierre Pacherelle
violin made in France, from one dealer and selling them at bargain
prices to another, Foley said.
   ``There is a common practice in the industry to lend rare
instruments to people so they can try them out in their homes or
their studios,'' the prosecutor said.
   Pandis, posing as an investment counselor and lawyer, told the
dealers that his clients wanted to buy their rare violins, violas
and violin bows as investments, but asked to inspect them first.
   He never returned the instruments and made about $250,000 by
selling them to other, unsuspecting dealers, Foley said.
   Pandis was arrested Jan. 27 on a federal complaint and indicted
Feb. 26.
   He used the illict profits for such things as a $32,000 Rolls
Royce and taking trips to Paris, London and Los Angeles, Foley said.
   In December 1985, the indictment said, Pandis persuaded an
elderly woman to close her personal money market account and let
him manage about $100,000 of her money, Foley said.
   Pandis spent most of the money on himself, the indictment
contends.
   He also is accused of stealing more than $40,000 from his
father's individual retirement account and obtaining $13,000 in
loans using his father's life insurance policy as collateral.
   In another scheme, Pandis set up his own investment counseling
firm in 1986 and sold $85,000 worth of bogus, high-interest bonds
to 10 investors, Foley said.
   ``One thing led to another,'' Foley said. ``Once he ran out of
juice on one thing, he moved on to another. The final item was the
musical instruments, which was probably his greatest coup and
netted him about $250,000.''
</TEXT>
</DOC>

Qid: 350	Rank: 47	Score: 7.970758
<DOC>
<DOCNO> WSJ880701-0163 </DOCNO>
<HL> LEISURE &amp; ARTS -- On Sports: Tyson Needs a Challenging Challenger </HL>
<AUTHOR> Frederick C. Klein </AUTHOR>
<SO> </SO>
<TEXT>
   Occasionally, I go away from a sporting event wishing I had asked a question of one of the participants. 
I left Mike Tyson's one-round knockout of Michael Spinks in Atlantic City on Monday night with that feeling. 

   The question that occurred to me too late to raise would have been directed to Tyson. 
"Iron Mike," I should have said, "were you disappointed that the fight was so easy?" 

   I am sure that the query would have elicited hoots from some of my colleagues, and, I'd guess, a puzzled shrug from its target. 
If Tyson was in a mood to elucidate, which he isn't always, he might have explained to me that dispatching the party of the second part as expeditiously as possible was what boxing was all about, and, moreover, his duty as a professional. 

   He had, in fact, expressed his general philosophy on the matter at a press conference the Wednesday before the battle. 
"The Trumps, the Kennedys, the Rockefellers all come to the fights to see somebody get hurt," he said in answer to another question with a brutal logic that's useful for someone in a brutal business. 
"I intend to inflict pain as quickly as possible to get the fight over with fast." 

   The young man, however, is said to be a student of boxing history, and, given a chance for quiet reflection, conceivably could have responded in the affirmative. 
For the pity of his career so far -- if you can call his three-year dash through the heavyweight division a career -- is that he never has faced anyone who has even begun to test his skills and resources. 
An athlete needs a formidable opponent the way a violin virtuoso needs a Stradivarius. 
Without one, we -- and he -- will never know how good he really is. 

   That point has been addressed glancingly since the fray, mostly from the "we" perspective. 
Specifically, tears have been requested on behalf of those who paid anywhere from $1,500 for a seat at ringside to $30 for a seat at setside, but got to watch only 91 seconds of action. 
To have seen the ringsiders, however, was to wonder how many of them actually peeled off 1,500 of their own bucks for their tickets (would the glad-handing Donald Trump have accepted payment from the 500 or so dear friends he invited, including Jesse Jackson, George Steinbrenner -- boo!!! -- and Carl Icahn?). 
The rest can write off the expense to consumer education. 

   The "we" part that deserves greater note is the way we evaluate our sports heroes, both contemporarily and in retrospect. 
Rarely is an athlete's performance considered in isolation; rather, he is rated in comparison with the more memorable of his peers. 

   Thus, when we think of Muhammad Ali, we think mostly of his epic struggles with Joe Frazier, and when we recall Joe Louis it is in connection with his two goes with Max Schmeling. 
Same with Dempsey-Tunney, Marciano-Charles, and Leonard-Hagler. 

   Conversely, triumphs over inferior opposition ruin the pleasure of spectator and participant alike. 
U.S. Olympians will tell you that the Soviet bloc boycott of the 1984 Games at Los Angeles devalued their medal haul. 
Soviet and East German medalists at the U.S.-boycotted Moscow Games four years earlier regard their own prizes similarly. 

   I thought the most interesting comment during the recent National Basketball Association playoffs came from a member of the Los Angeles Lakers (Magic Johnson, I think), who bemoaned the semifinal elimination of the Boston Celtics, his team's ertswhile nemesis and longtime sparring partner. 
He said the Celtics at playoff time always bring out things in the Lakers that the Lakers didn't know they had in themselves. 

   Tyson is unbeaten in his 35 professional fights, but that isn't what makes him unique; Rocky Marciano and Larry Holmes were undefeated heavyweight champions before him. 
Tyson stands out because he also is unscored upon, which is to say that his superiority never has been in doubt in any of his matches. 
Four of his fights have gone to decisions, the most recent coming last year against James "Bonecrusher" Smith and Tony Tucker. 
Both those worthies were large, strong men who survived by abandoning any hope of victory early on and clutching Tyson's arms at every opportunity. 

   It is, moreover, questionable whether Smith, Tucker or anyone else could today force Tyson to hear a last-round bell. 
"Mike's improved 50-60% since the Tucker fight. 
People forget he's only 21 years old," trainer Kevin Rooney asserted before the Spinks go. 
"No way anybody could hold him off like that anymore." 
And, indeed, Tyson's last four outings have ended in swift KOs. 

   Tyson's domination of his division could stem from the paucity of his opposition or his own, overwhelming gifts. 
I suspect it is the latter. 
The "Rocky" movies to the contrary notwithstanding, boxing at its highest level can be a subtle contest of styles and tactics, with two skilled professionals able to go many rounds before a solid blow is landed. 
That's why A.J. Liebling could write about the "sweet science," and the "cunning pressures" of arms and body with which the master Archie Moore manipulated foes. 

   I confess I thought Spinks had much of the "Moore" about him. 
But there is little subtlety to a Tyson fight. 
The opening bell sounds and he is there, in his opponent's face, pummeling him with punches of great force and unprecedented speed. 
"They all come in with plans, but they forget 'em quick," Tyson notes. 
Pretty soon, they forget everything else. 

   If there is anyone around who might test Tyson, he has yet to show himself. 
Boxing is not a sport that many play joyfully, so challenging challengers may remain scarce for quite some time. 

   There will be no lack of opponents because people will do a lot of things if the price is right, including accepting a beating. 
It's altogether possible that one day Tyson will become careless and lose to a lesser man, or, simply, get bored and quit. 
That would be sad for us, and doubly so for him. 

</TEXT>
</DOC>

Qid: 350	Rank: 48	Score: 7.929461
<DOC>
<DOCNO> AP880613-0251 </DOCNO>
<FILEID>AP-NR-06-13-88 2118EDT</FILEID>
<FIRST>a e BC-WKD--EndangeredInstruments Adv24-26   06-13 0762</FIRST>
<SECOND>BC-WKD--Endangered Instruments, Adv 24-26,0783</SECOND>
<NOTE>$Adv24</NOTE>
<NOTE>$Adv25</NOTE>
<NOTE>$Adv26</NOTE>
<NOTE>For Release Weekend Editions, June 24-26 and Thereafter</NOTE>
<HEAD>AP WEEKEND ENTERTAINMENT AND ARTS</HEAD>
<HEAD>The Artists: The Endangered Euphonium and Other Instruments</HEAD>
<BYLINE>By LESLIE LLOYD</BYLINE>
<BYLINE>Associated Press Writer</BYLINE>
<DATELINE>PHILADELPHIA (AP) </DATELINE>
<TEXT>
   Know anyone who plays the euphonium?
   When was the last time you picked up your bassoon and blew a
bouncy tune?
   The euphonium, a brass-wind instrument with a mellow tone, and
the bassoon, a woodwind instrument with a long, curved stem, are
among some less popular instruments some musicologists fear may
become as endangered as the whooping crane.
   In an effort to reverse this trend, the Settlement Music School
is encouraging its students to play lesser-known instruments.
   Robert Capanna, the executive director of the school, said the
number of students playing such endangered instruments as the
euphonium, bassoon, cello, double bass, harp, oboe, trombone, tuba,
viola, French horn and organ is declining.
   He is concerned about the trend and said he wonders what the
professional implications could be if it is not changed. Capanna
noted there is intense competition for positions in orchestras.
However, if more interest in some instruments is not developed,
that competition could wane.
   Ronald Demkee, associate conductor of the Allentown, Pa.,
symphony and the orchestra director at Freedom High School in
Bethlehem, Pa., said the quality of the performers is still high,
but there could be concern if fewer people study some instruments.
   ``The people that are auditioning seem to be more prepared than
ever,'' he said. However, the number of bassoon players at the high
school, for example, has dropped from five to one over the last
several years.
   Schools across the country are reporting the same trend as the
Settlement School, Capanna said. He attributed the swing in
interest to cuts in school music programs.
   ``Kids at an early age are not getting that exposure (of
different instruments),'' he explained.
   Settlement offers a class called ``Meet the Instruments of the
Orchestra,'' and provides scholarships for students to play such
``endangered instruments'' as the euphonium, a tenor tuba.
   ``Kids who are interested in music have a narrow frame of
interest,'' Capanna said, adding that piano and violin are, by far,
the most popular instruments being studied. ``We want to make kids
aware that there are other instruments.''
   Piano students are now encouraged to also take up the organ, and
violinists are also steered toward learning how to play the viola.
   Settlement sponsored a program in which it distributed 120,000
comic books and tapes to schoolchildren called ``Quadrus and
Friends Musical Journey.'' The books and tapes attempted to make
children aware of how music touches their lives, and how they can
become involved in music if they have the desire.
   ``The idea was to get kids to recognize ... there were people
involved in good music,'' Capanna said.
   The school of 6,000 students, aged 3 to adult, is the largest
community arts school in the nation. It was founded 80 years ago.
   The executive director said the enrollment has changed over the
last decade. Ten years ago, Capanna said, 25 percent of the
students played wind and brass instruments, the typical ``band
instruments,'' such as clarinet, flute, trumpet and the endangered
instruments.
   Now, he said, 13 percent of the enrollment are studying those
instruments. He estimated that another 50 percent of the students
are playing the piano, and the remainder are studying voice or
playing string instruments, mainly the violin.
   ``In the long run, it will level out,'' Demkee said, noting that
some students will change over to the more needed instruments.
   A lack of interest in some instruments can affect other music
students, Capanna said.
   Because so many people are playing the piano and violin, their
musical experience won't be as rich. There are limits to what the
two instruments can play together and playing with a group of
people enrichs a student's experience, he said.
   When the student is part of an audience for a musical
performance, his or her appreciation will be greater if his or her
musical experience is deeper, Capanna said.
   The popularity of the Suzuki method of teaching the violin also
has shifted interest to the instrument, he said. The Suzuki method
was developed by a doctor in Japan about 20 years ago and is a way
of teaching youngsters how to play the violin before they're even
able to read music. Therefore, the child is already playing the
violin before he knows the other options available.
   The method has since been applied to other instruments.
</TEXT>
<NOTE>End Adv for Weekend Editions, June 24-26</NOTE>
</DOC>

Qid: 350	Rank: 49	Score: 7.838889
<DOC>
<DOCNO> AP901108-0086 </DOCNO>
<FILEID>AP-NY-11-08-90 1221EST</FILEID>
<FIRST>r i AM-BRF--Denmark-Jazz     11-08 0179</FIRST>
<SECOND>AM-BRF--Denmark-Jazz,0175</SECOND>
<HEAD>Jazzman's Irreplaceable Contrabass Stolen</HEAD>
<DATELINE>COPENHAGEN, Denmark (AP) </DATELINE>
<TEXT>
   A 150-year-old German-made contrabass
was stolen from Danish jazzman Niels Henning Oersted Pedersen in
Germany, a newspaper reported Thursday.
   ``I've been playing on it since 1963. It's like losing an arm,''
Oersted Pedersen, also known as ``NHOP'' among jazz fans, told the
Copenhagen daily, Politiken.
   Oersted Pedersen said he might have to cancel concerts across
Europe unless the instrument is recovered.
   ``I sound like that contrabass. And that sound can hardly be
recreated on another instrument,'' he said. The contrabass, the
largest instrument in the violin family, has a range an octave
below a normal bass.
   The contrabass disappeared last Friday at the Frankfurt-am-Main
international airport in Germany where Oersted Pedersen was
attending a jazz festival with Belgian guitar player Philippe
Catherine. The two were also to make a record in a German studio.
   Oersted Pedersen, 44, owns another contrabass, a French-built
instrument from the 17th century. ``But I don't dare travel with
it. It's too fragile,'' he said.
</TEXT>
</DOC>

Qid: 350	Rank: 50	Score: 7.737514
<DOC>
<DOCNO> WSJ880427-0164 </DOCNO>
<HL> Chain-Saw Massacre: Finger Lakes Slashes Its Way to Victory --- College Woodsmen Despoil Trees in Name of Sport; Eat Wood, Lumberhead! </HL>
<AUTHOR> David Stipp (WSJ Staff) </AUTHOR>
<SO> </SO>
<DATELINE> WATERVILLE, Maine  </DATELINE>
<TEXT>
   Okay, sports-trivia buffs, show your stuff: In the twitch-peavey-deck, does the scoot load come first or last? 

   Hint: We're talking about a sport in which frying pans are standard equipment, Community College of the Finger Lakes in New York state is top-seeded, and boiling water is a competitive event. 

   Stumped? 
You're getting warmer. 

   The twitch-peavey-deck is part of the Woodsmen's Weekend, an annual intercollegiate contest in which enthusiastic young people do violence to trees. 

   The 42nd such contest, held here at Colby College last weekend, attracted some 40 men's and women's six-member teams from schools in the Northeast U.S. and Canada. 
They spent two days chopping, sawing and otherwise trying to clear-cut the competition at traditional lumberjack skills. 
It was the Rose Bowl of the woodsmen's world, but you probably didn't hear about it. 

   Although the sport has all the ebullient bloodletting of rugby, it remains well out on the periphery of American athletics. 
Even at forestry schools there's limited interest in lugging logs across muddy fields in driving sleet, as one event calls for, to say nothing of standing around watching others do it. 
And the sport's heroes, though hard as a sack of hammers, don't have much TV appeal: "They say it's a sport for old, fat men," says Don Quigley, a husky 39-year-old who teaches forestry at the University of New Hampshire and competes on the pro circuit. 

   Still, it is the rodeo of the plaid-shirt-and-gum-boots crowd, including the ones from Brooklyn and Berkeley. 
When the gleaming "racing" axes and lovingly tended $1,500 competition saws are brought out, the adrenalin rises like sap in April. 

   "Eat wood!" screams Colby captain Jeff Glover, as his teammates rip through a timber with a two-handled saw in an event called "crosscut from hell." 
Describing another event, in which competitors stand on elevated logs while chopping them in two, Colby woodsmen's coach Debbie Smith says, "People love to see people chopping at their feet." 

   It is considered bad form to fell trees on opposing teams, but just about anything else in lumberjack lore is fair game at collegiate woodsmen's meets. 
Competitive tobacco spitting is a disgusting old favorite, and many contestants here constantly warmed up for it even though, this time, it wasn't on the program. 
Lately, lighting matches with ax blows is in fashion. 

   The host team for a meet can customize the events or even spring new ones on opponents. 
Two years ago, a Canadian host team stunned rivals with a new event for which it had practiced for months. 
The idea: to knock an opponent off logs spinning on ball bearings. 
Another host school introduced fly-casting at inner-tube targets, but strong winds blew away its advantage. 

   At the Colby meet, participants race canoes, throw axes, lob logs, fell trees, clamber up poles and scramble through the woods with packs containing 50-pound weights and a skillet. 
The water-boil race involves building a fire and boiling water, using only three matches, one log and various sharp tools. 
In the twitch-peavey-deck, two people twitch, or drag, a 400-pound log with ropes. 
Then, using peaveys -- harpoonlike tools -- they roll it through an obstacle course. 
And finally, they scoot the whole load up a ramp, called a deck. 

   All this is considered great fun by these amateur woodsmen, who relish the camaraderie that develops among people sharing pain. 
Their meets have little to do with modern logging, in which people in air-conditioned cabs often dismantle trees with huge machines. 
But the sport includes oddball concessions to modern realities, like the chain-saw log-cutting competition, which takes about as much skill as pumping iron with forklifts. 

   At college meets, an injury, if only mildly maiming, is no reason to quit. 
Only the greenest rookies have no scars on hands and arms. 
Marty Dodge, the coach of the Finger Lakes team, tells how his chain saw once "jumped up" from a log during a contest and laid open his scalp. 
At this year's meet, Ann Thayer, a Colby graduate on the school's alumni team, was just about to complete the twitch-peavey-deck when a teammate drove a peavey point into her hand, breaking a bone and sending her to the hospital. (She was back the next day as a judge.) 

   Ms. Thayer recalls a worse incident, the day the chips hit the fan. 
An ax head flew off, wounding the one good leg of a bystander who was already on crutches. 

   Most of the damage at the meets is to pride, though. 
Pam Parker, a Colby contestant, bursts into tears during the portage event when the wind flips her canoe into a nearby pond and blows it out of reach. 
In a two-man canoe race, University of Vermont woodsmen Albert Knudsen and Bill Cleary launch their canoe on the run and promptly flip over. 
"People who do this make total fools of themselves," says Sally Keefer, a University of Vermont woodswoman. 
"But nobody cares." 

   Woodsmen's meets have camp appeal at schools such as Dartmouth, whose men's team showed up one year in tuxedos for a sawing contest. 
But at Sir Sandford Fleming College of Lindsay, Ontario, where woodsmen's athletics is one of two varsity sports (the other is hockey), students get "woodsmen's fever," a kind of obsessive chopping condition, says Bill Deba, the coach. 
And Finger Lakes college has so many trophies they can't all fit in the display case. 
It worsened its problem this year by winning both the men's and women's grand prizes, edging Sir Sandford Fleming in both cases. 

   Preparing for meets, tool specialists on such teams may spend 30 hours sharpening a single competition saw; the saws are handed down from team to team like Stradivarius violins. 
Some squads train year-round. 
Chuck Congdon of Finger Lakes keeps in shape in the off season by chopping wood for relatives. 
Chris McGee, a passionate young woodsman from Pinkerton Academy in Derry, N.H., is pulling out all the stops for this year's meet; he isn't going to any parties on nights before his events. 

   The ultimate reward for all this work is a chance to win hundreds of dollars at pro woodsmen's meets. 
Mr. Quigley, the part-time pro who competed here on an alumni team, and a teammate showed how good the pros are by sawing through an 8-by-8 pine timber nine times in 39 seconds. 

   But for many, turning pro will remain only a dream. 
Pondering the future with a faraway look in his eyes, Finger Lakes' Mr. Congdon says, "I don't know if I'm good enough for the pros." 

</TEXT>
</DOC>